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Emma Watson-Vanity Fair-Portraits-Photo
Emma Watson
'Vanity Fair Portraits: 2008 exhibition preview party at the National Portrait Gallery, London, Britian - 11 Feb 2008 .
Photo by: David Fisher / Rex USA ( 732220J )
'Vanity Fair Portraits: 2008 exhibition preview party at the National Portrait Gallery, London, Britian - 11 Feb 2008 .
Photo by: David Fisher / Rex USA ( 732220J )
Emma Watson - Face Expression - Cartier International Polo Day
Emma Watson - Cartier International Polo Day, Windsor, Berkshire, England 07/27/2008
emma watson polo day beautiful picture
Emma watson Cartier International Polo Day, at the Cartier Marquee in Great Windsor Park on July 27, 2008 in Windsor, England.
Pentax K2000 / K-m Review
The entry-level DSLR sector has become argue ably the hardest-fought camera sector over the past year. Reduced-spec, cheaper DSLRs have appeared from all the major camera companies, looking to tempt compact camera users across to the 'will it fit in my pocket?' divide. Pentax has responded to this with the K2000/K-m. In most respects it's a smaller, friendlier K200D with a little less mass and a little more mass-appeal.
And, to Pentax's credit, they've taken very little away from the K200D and clearly spent a lot of time making it as user-friendly as possible. The on-screen control panel is very well done, making it easy to find and change all the key shooting settings and meaning the top LCD (one of the few K200D features that has been removed), is unlikely to be missed by many. The automatic scene mode selection feature (which is becoming increasingly common on compacts), is a nice touch, too.
So our first impressions of the K2000 were very positive - it's a well designed little thing with some of the best build quality in its class and a level of accessibility that makes it probably the best beginners DSLR Pentax has yet made.
However, the thing we liked least about the K200D - its JPEG engine - appears to have been inherited, unchanged from the old model, which is quite a drawback for a camera aimed at the first time user. The default bright, high-contrast and saturated look makes sense for this target audience (though they're a bit much for our tastes), but the poor level of detail if you examine the images closely puts the K2000 at the bottom of its class for image quality. We're also not convinced that the same users who want those punchy colors will be best served by the low levels of noise reduction (or that they'll find custom setting 12 to change it), and rather conservative metering. This isn't a problem for the more experienced user, of course, who is more likely to apply exposure compensation and be happy to shoot in RAW and process the images later to get the best out of them.
Richard Butler & Lars Rehm
more : dpreview
And, to Pentax's credit, they've taken very little away from the K200D and clearly spent a lot of time making it as user-friendly as possible. The on-screen control panel is very well done, making it easy to find and change all the key shooting settings and meaning the top LCD (one of the few K200D features that has been removed), is unlikely to be missed by many. The automatic scene mode selection feature (which is becoming increasingly common on compacts), is a nice touch, too.
So our first impressions of the K2000 were very positive - it's a well designed little thing with some of the best build quality in its class and a level of accessibility that makes it probably the best beginners DSLR Pentax has yet made.
However, the thing we liked least about the K200D - its JPEG engine - appears to have been inherited, unchanged from the old model, which is quite a drawback for a camera aimed at the first time user. The default bright, high-contrast and saturated look makes sense for this target audience (though they're a bit much for our tastes), but the poor level of detail if you examine the images closely puts the K2000 at the bottom of its class for image quality. We're also not convinced that the same users who want those punchy colors will be best served by the low levels of noise reduction (or that they'll find custom setting 12 to change it), and rather conservative metering. This isn't a problem for the more experienced user, of course, who is more likely to apply exposure compensation and be happy to shoot in RAW and process the images later to get the best out of them.
Richard Butler & Lars Rehm
more : dpreview
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Canon EF 50mm F1.8 II review
The Canon EF 50mm F1.8 II may be one of the cheapest lenses currently on the market, but its optics belie its lowly price. As befits a classic standard prime lens, it's very sharp when stopped down (especially in the centre), shows minimal chromatic aberration, and has relatively low distortion; APS-C users will also benefit from extremely low vignetting. In most regards it comes very close indeed to its much more expensive bigger brother, the EF 50mm F1.4 USM, lagging marginally behind in corner sharpness at any specific aperture. The only real blight in imaging terms is the lens's bokeh, or rendition of out-of-focus backgrounds, which is anything but smooth with a distinct tendency to render bright highlights as obvious pentagons (it's a pity Canon didn't choose to use a diaphragm with 7 or 8 blades instead of 5).
Of course getting great optics for relatively little money means that corners have to be cut somewhere along the line, and in this case it's in the build quality. The 50mm F1.8 II may not be the most flimsily-constructed lens ever made, but I can't think of another currently on the market which can rival it for a sheer impression of plasticky-ness. This alone will put off some potential purchasers, who will likely gravitate towards the better-made F1.4 lens instead, but in truth it's just fine for everyday amateur use. Of course the flipside of this is that it's extremely light, and won't add much strain on your shoulder carrying it around all day, so it's a great option to throw in your bag for low-light shooting when travelling.
The other slight fly in the ointment is the autofocus; the micro-motor system is a little slow and therefore not an ideal choice for moving subjects. More problematically, focusing can be inconsistent and inaccurate in low light, something that will be most obvious when shooting at large apertures. There's also no full-time manual focus override for those users who don't like to trust their camera's AF system; again these issues are all reason to consider the F1.4 lens instead.
Andy Westlake
more : dpreview
Of course getting great optics for relatively little money means that corners have to be cut somewhere along the line, and in this case it's in the build quality. The 50mm F1.8 II may not be the most flimsily-constructed lens ever made, but I can't think of another currently on the market which can rival it for a sheer impression of plasticky-ness. This alone will put off some potential purchasers, who will likely gravitate towards the better-made F1.4 lens instead, but in truth it's just fine for everyday amateur use. Of course the flipside of this is that it's extremely light, and won't add much strain on your shoulder carrying it around all day, so it's a great option to throw in your bag for low-light shooting when travelling.
The other slight fly in the ointment is the autofocus; the micro-motor system is a little slow and therefore not an ideal choice for moving subjects. More problematically, focusing can be inconsistent and inaccurate in low light, something that will be most obvious when shooting at large apertures. There's also no full-time manual focus override for those users who don't like to trust their camera's AF system; again these issues are all reason to consider the F1.4 lens instead.
Andy Westlake
more : dpreview
Olympus E-30 Review
The E-30 is a brave attempt by Olympus to offer something different in the mid-range DSLR market, with a strong emphasis on in-camera creative effects that actually prove to be fun to use. The Multiple Exposure mode in particular is a great example of making a traditional photographic technique easier. Sure, you can replicate most of the E-30's artistic filters on a computer, but there's something to be said for being able to do it instantly and even preview the effect before you press the shutter button. This creative strength is backed up by an almost pro-level suite of features which are easily on a par and in some cases better than the main competition, plus very quick auto-focusing when using both the traditional phase-detection system through the viewfinder and the contrast-detection system in Live View mode via the LCD screen.
Having said all of that, there are also a few areas where the Olympus E-30 doesn't quite make the grade. Image quality from the smaller 4/3rds sensor isn't as good as that from the APS-C competitors, with noise in particular an issue at relatively slow ISO speeds. The E-30 is also an initially intimidating camera to use, with a lot of external controls and in particular a convoluted menu system and info screen which could really do with an overhaul. Olympus haven't helped themselves or their users by burying some of the key options, such as the Level Gauge and Multiple Exposure setting, deep within the lengthy Custom menus. Finally, the recommended retail price isn't going to help steal away users from Canon and Nikon - at £850 / $1300 body only, it costs roughly about the same as a Canon 50D body or Nikon D90 with a kit lens, and is even approaching Olympus' own range-topping E-3 model.
So in conclusion, while the Olympus E-30 has a lot going for it, particularly for experienced users looking for something a little different, or prospective E-3 buyers who don't need the weather-sealing, it also has some notable downsides that ultimately prevent us from awarding it a higher rating. The E-30 is easy to recommend as an upgrade to existing owners of entry-level Olympus DSLRs like the E-420 and E-520, but it probably won't tempt people away from Canon and Nikon.
Mark Goldstein
more : photographyblog
Having said all of that, there are also a few areas where the Olympus E-30 doesn't quite make the grade. Image quality from the smaller 4/3rds sensor isn't as good as that from the APS-C competitors, with noise in particular an issue at relatively slow ISO speeds. The E-30 is also an initially intimidating camera to use, with a lot of external controls and in particular a convoluted menu system and info screen which could really do with an overhaul. Olympus haven't helped themselves or their users by burying some of the key options, such as the Level Gauge and Multiple Exposure setting, deep within the lengthy Custom menus. Finally, the recommended retail price isn't going to help steal away users from Canon and Nikon - at £850 / $1300 body only, it costs roughly about the same as a Canon 50D body or Nikon D90 with a kit lens, and is even approaching Olympus' own range-topping E-3 model.
So in conclusion, while the Olympus E-30 has a lot going for it, particularly for experienced users looking for something a little different, or prospective E-3 buyers who don't need the weather-sealing, it also has some notable downsides that ultimately prevent us from awarding it a higher rating. The E-30 is easy to recommend as an upgrade to existing owners of entry-level Olympus DSLRs like the E-420 and E-520, but it probably won't tempt people away from Canon and Nikon.
Mark Goldstein
more : photographyblog
Sigma UK price increases.
It’s a very long time since prices in the photo/imaging market increased. Cameras and lenses fell in price until they offered incredibly good value for money. In times of recession it seems counter-intuitive for prices to rise but that’s exactly what is about to happen, mainly due to the currency fluctuations.
In December 2007, the exchange rate between the UK Pound and Japanese Yen was 235. The very weak pound and unusually strong Yen now means that the exchange rate has fallen to below 130 Yen, a devaluation of approximately 40%. Anybody who has recently been on holiday abroad will have noticed that the pound is very weak against the Euro, Dollar and Yen.
Our parent company, the Sigma Corporation, purchases raw materials in Yen, their overheads are therefore inextricably linked to the Yen and so they have been forced, in line with our competitors, to increase our supply price to reflect the exchange rate between the UK pound and the Japanese Yen. Our prices are therefore set to increase on 1st February 2009. Whilst our price increases reflect the international exchange rate movements we have made every effort, wherever possible, to absorb the price rises and minimise extra expense to the customer. Sigma, in line with our competitors, are constantly monitoring the currency market and our prices are directly influenced by exchange rates. We hope that the UK pound makes a recovery against foreign currencies however it is not altogether impossible that further price increases may be forced upon us all.
As retailers strive to beat the price increase deadline, we have seen tremendous growth in sales in January and as a result our warehouse is very low on stock. Whilst the prices of Sigma products will increase on 1st February, it may be possible for customers to purchase from their local retailers at the original prices for a limited period as long as stocks last.
Whilst these price rises are regrettable it is important to note that, as all our competitors are increasing prices to a similar degree, we still retain our reputation for offering top quality products and excellent value for money.
Stuart Dennison
www.sigmauser.eu
In December 2007, the exchange rate between the UK Pound and Japanese Yen was 235. The very weak pound and unusually strong Yen now means that the exchange rate has fallen to below 130 Yen, a devaluation of approximately 40%. Anybody who has recently been on holiday abroad will have noticed that the pound is very weak against the Euro, Dollar and Yen.
Our parent company, the Sigma Corporation, purchases raw materials in Yen, their overheads are therefore inextricably linked to the Yen and so they have been forced, in line with our competitors, to increase our supply price to reflect the exchange rate between the UK pound and the Japanese Yen. Our prices are therefore set to increase on 1st February 2009. Whilst our price increases reflect the international exchange rate movements we have made every effort, wherever possible, to absorb the price rises and minimise extra expense to the customer. Sigma, in line with our competitors, are constantly monitoring the currency market and our prices are directly influenced by exchange rates. We hope that the UK pound makes a recovery against foreign currencies however it is not altogether impossible that further price increases may be forced upon us all.
As retailers strive to beat the price increase deadline, we have seen tremendous growth in sales in January and as a result our warehouse is very low on stock. Whilst the prices of Sigma products will increase on 1st February, it may be possible for customers to purchase from their local retailers at the original prices for a limited period as long as stocks last.
Whilst these price rises are regrettable it is important to note that, as all our competitors are increasing prices to a similar degree, we still retain our reputation for offering top quality products and excellent value for money.
Stuart Dennison
www.sigmauser.eu
Sony A900 Review
The Sony A900 is not simply the highest-resolution DSLR out there – it's much more than that. If you've read through the Ease of Use and Image Quality sections of this review, you will know that I liked working with this camera a lot. Its viewfinder is the best you'll find south of medium format, the build is incredibly robust, the controls are intuitive, with some of them – such as the dedicated Histogram button, the metering mode knob or the well-implemented rear joystick – being close to pure genius. On top of that, the fact that it is the only full-frame digital SLR with image stabilisation integrated into the body makes it a very attractive proposition. Add to this a few useful features such as Manual Exposure Shift (ME Shift), AF Micro Adjustment or Dynamic Range Optimisation, and you have a very well-rounded photographic tool that is not likely to let you down in the field.
In terms of image quality, the A900 is also hard to find fault with. The resolution is jaw-dropping, the dynamic range is fantastic, the tonality is great and the colours are pleasing. You do get quite a bit of noise at ISO 1600 and higher (and sometimes lower as well), but it won't really impact on the final output unless you print those high-ISO shots really, really big, and then scrutinise them from a distance that borders on the ridiculous.
Does this mean that the A900 is the perfect camera then? Of course not – there is no such thing as a perfect camera. The auto-focus system, while capable, leaves a lot to be desired. The AF points need to be arranged more sensibly, and all of them need to be a cross type – or a double cross type, like the central one – in order to be really useful. Some kind of Live View – preferably off the main sensor, so that the great optical viewfinder is not compromised – would be more than welcome for the sake of all the tripod users out there. We do realise, however, that there are many photographers who will be more than happy with the AF system of the A900 as it is, and won't miss Live View at all – which is why we do not hesitate to award this camera our highest Essential rating.
Zoltan Arva-Toth
more : photographyblog
In terms of image quality, the A900 is also hard to find fault with. The resolution is jaw-dropping, the dynamic range is fantastic, the tonality is great and the colours are pleasing. You do get quite a bit of noise at ISO 1600 and higher (and sometimes lower as well), but it won't really impact on the final output unless you print those high-ISO shots really, really big, and then scrutinise them from a distance that borders on the ridiculous.
Does this mean that the A900 is the perfect camera then? Of course not – there is no such thing as a perfect camera. The auto-focus system, while capable, leaves a lot to be desired. The AF points need to be arranged more sensibly, and all of them need to be a cross type – or a double cross type, like the central one – in order to be really useful. Some kind of Live View – preferably off the main sensor, so that the great optical viewfinder is not compromised – would be more than welcome for the sake of all the tripod users out there. We do realise, however, that there are many photographers who will be more than happy with the AF system of the A900 as it is, and won't miss Live View at all – which is why we do not hesitate to award this camera our highest Essential rating.
Zoltan Arva-Toth
more : photographyblog
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