Frozen In A Pause

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Between Shades and Shadows

To create a set of compositions in the grains of black of white realms is a rare and unique habit. In the world today photography has moved from its first inhibitions of influential international design movements. If Bauhaus gave us clean sculptural lines of buildings, Henri Cartier Bresson and Irving Penn and many others defined a period in which the look itself would become a signifier of urban modernity and of modern life.

Here in India the relics of S.Paul and Raghubir Singh give us contrasting studies to contemplate upon. Photography means different things to different people. For the commercial photographer Ravi Dhingra it is a kind of oasis when he takes off from assignments and goes in search of quiet corners and explores the shades and shadows of nooks and crannies to create a suite of works that are at once limpid notes on a dulcet tranquil tapestry of time.

Perhaps at the end of the day, it all depends on one’s personality. If you prefer to have more of a goal, structure, and pattern– then working in a project-based mindset may be advantageous to you. However if you consider yourself more of a free spirit and don’t like to work feeling restrained- the natural way of just reacting to what you see may be better for you.

These images are not about the portraits or moods of people but they are about manifestations of people, it’s the things/spaces that are created by people that become subjects of Ravi’s vision.

So when Ravi steps out or into interior spaces he does not just focus all his attention and energy to people. Rather, he looks for elements that might juxtapose each other and make statements about society. This can be manifested through objects of things you find on the ground, urban landscapes, and other messages he might find.

For someone who shoots most of his commercial assignments in colour when asked about his penchant for black and white Ravi states: ” We are surrounded by colours, everything around us is colourful which at times makes our visual experience a bit monotonous. The absence of colours in an image helps in breaking the monotony, the boredom. Colour photographs are too obvious, whereas monochrome ones provide a different perspective with each colour depicting a different shade of grey.”

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Light and Shadow

The act of seeing is at the heart of his language of images. The window is as much a sentinel as the chair that is merely throwing its shadow against a wall. The dancers moving in synchronized rhythm as vital as the pigeons that sit or fly off the wall of the ruins of a fort. The puddles and dark silhouettes of human form as brisk as the silhouette of the wrought iron chair that stands in front of the shutter. Light becomes the fulcrum around which he captures his compositions.In his quest for light and shadow Ravi looks for a visual experience.

Each image tells a story, that starts with a single scene: its like a brief, imagined film clip unspooling through projector light and developing into a story on the screen of his brain. That unfolding scene often begins with an object or image Ravi is drawn to and had captured within and without. I am reminded of the great architect Louis Kahn who presented a treatise on light.  It was the central element in Kahn´s philosophy because he regarded it as a “giver of all presences”: “All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.” For Kahn light is the maker of material, and material’s purpose is to cast a shadow.

As identified by Leonardo da Vinci, we often encounter three types of shadows: Attached shadow, shading and cast shadow. The attached shadow falls on the body itself – like a cantilever roof causing a shadow on the façade. The second type belongs to bright and dark contrasts, which are inherent to the form and depend only on the source of light, e.g. a ball shaped pavilion, which even under a cast sky shows a darker zone in the lower part. The third, cast shadow, could be the result of a high house generating shadow on the street due to the projection of the building outline. These images personify the passion that Dhingra has when he shoots his compositions in the right inclinations of sunlight.

Ravi presents his own rumination on light.
” Some chase light but I prefer to chase shadows. Shadows create volume, add another dimension, and this interplay of light and shadows can make an ordinary object look extraordinary in the photographs. It is all about using the available light for lighting the subject to create shadows.”

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Time of day

Indeed when you look at these images its as if the photographer is out to explore the secrets of shadows during different times of day. Only when you study light in the context of gradations of light and dark do you learn that the dark shadow is a natural part of light, interestingly Ravi never attempts a pure dark space for a formal effect. For him, a glimpse of light elucidates the level of darkness. A good composition in the tones of light and dark should be read like a harmony of spaces in light.

Ravi elucidates: More than the time of day, the desired effect in a photograph is more relevant , a high contrast image will need bright afternoon sunlight whereas early morning or late evening Sun will help in getting long and soft shadows. I also work a lot with light coming through windows, doors and other openings which give a different glow according to the time of the day.”

Between the debates and descriptions of light and dark zones we know that even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light. As a result, the light as a source is often hidden behind secondary walls, thus concentrating attention on the effect of the light and not on its origin.

The “mysteriousness” of shadow in photography is also closely linked to evoking silence and awe. For in a composition while darkness evokes the uncertainty of not being able to see, it also inspires deep mystery. Then it is in the hands of the photographer to capture compositions that evoke silence, secret or drama with light and shadow – to create a “treasury of shadows.”

When asked about his thoughts on the power of composition and its impact Ravi provides his insight. ” Composition is the art of photography and very subjective and there are certain laid out rules also for composition. For me simplicity in the frame is the key, I generally avoid including too many elements, a straight forward approach works for me. A balance between various elements is very important in a photograph, the process of inclusion and exclusion help in maintaining the right proportions.”

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In an age where cellphone photography has inundated all visual culture and everyone is trigger happy it isn’t always easy to find a formal set of works. This collection belongs to that category.

Ravi adds his perspective. ” Photography is much more democratic now in the cellphone age and technically these smartphone camera produce decent images. This has made photography more challenging, to create a photograph which not only is good but also different is a tough task.There is nothing called  good or bad photograph, it is all about interesting or boring photograph. The viewer’s attention will still go to a visual which is different from others and yet effective in getting the story across.”

Ravi admires the works of Raghu Rai & Rafique Sayed and finds inspiration from their oeuvre. Among International names Yousuf Karsh is one of his favourites besides the historian and epic colossus of human studies the invincible Sebastio Salgado.

Critical essay by Uma Nair, Art Critic & Curator

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The book is available online on  Amazon and Flipkart

Click here to order Frozen In A Pause

Buy artworks online at Mojarto

Mojarto1

Mojarto2

Coverage in Hindustan Times, HT City, 25th October 2017. Click here to read

Hindustan Times e-Paper - Frames that captured poetic moments - 25 Oct 2017 - Page #40

Click here to view the video by Art Explore 

Coverage in Millennium Post 6th November 2017. Click here to read

MillenniumPost6.11.17

Coverage in The Asian Age dated 9th November 2017. Click here to read the article:

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Photographs from the Exhibition Opening & Book Launch on 31st October 2017

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Ramayana

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Ramayana in Mudras by Kuchipudi exponents Raja and Radha Reddy 6

Click on the photograph above or the link below to view the ebook.

http://www.youblisher.com/p/982885-Ramayana/

Option to download as PDF also available.

Character Portrayal

Rama: Raja Reddy

Sita: Radha Reddy

Ahilya: Kaushalya Reddy

Ravana: Rashmi Vaidyalingam

Lakshmana: Tamal

Hanuman: Stans

Shurpanakha: Yamini Reddy

Jatayu: Bhavana Reddy

Kaikeyi/Garud: Shloka Vaidyalingam

Deer: Mahesh

Profoto B10 – The Power of Small

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Profoto launched B10, an off camera flash, in Delhi today. Almost the size of a 28-70 lens, this surely must be the smallest and lightest in this category. With maximum power of 250 watts, equivalent to 5 Speedlites, it is powerful enough to work in harsh sunlight and unlike Speedlites it gives the option of continuous light with the facility of changing colour temperature which means that this can also be used as a video light.

The simple and minimalistic design with just 3 buttons makes off camera flash photography a cakewalk. With the Profoto app (currently available for iOS) the light can be operated through a smartphone too.

The battery operated flash can fire 400 flashes when fully charged and it takes maximum one and a half hour for charging to maximum power. No more working with electric cables running around in the studio or outdoors.

The light is part of the Profoto system which makes it compatible with other models, all light modifying accessories and also the Air Remote.

In studio or outdoors, B10 is a perfect light source for most of the genres of photography-wedding, portraiture, fashion, food, product…. and here size actually doesn’t matter.

These photographs are taken with the continuous light option and at different colour temperatures.

Click here for more information:

Profoto B10

Happy Clicking!

©️ All Rights Reserved Ravi Dhingra

Permission for photography at ASI protected monuments

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Many a times photographers especially with big cameras are stopped by guards at ASI ( Archaeological Survey of India) protected monuments citing signage prohibiting photography at the entrance to take photographs.

Here is the copy of permission letter issued by concerned authorities. This has been tweeted by Dr. Mahesh Sharma who at present is the Union Minister of State for Culture (Independent Charge) and Minister of State for- Environment, Forest and Climate Change, Government of India.

Though still photography without using tripod was always allowed but it was difficult to find the office order stating the same and it was at the discretion of guards to put various kinds of restrictions which even included carrying DSLR inside the monuments as it can be used for video, videography without prior permission is not allowed.

It is advised to either take a print out of this and always keep in camera bag or save it on the phone.

Happy clicking!

The Digital Photo Copy Cruiser

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The year was 2003 when I purchased my first DSLR, spent ₹ 1.75 lacs on the 6mp camera body & another ₹16000/- for 2 Compact Flash cards of 512 mb each. Thankfully the existing SLR lenses were compatible. It was the time of transition from film to digital technology for professional photography . With film cameras editing was taken care of at client’s end, there was no real need of laptops/computers at the time and location of shoot.

This was also the time of shooting with both technologies, film as well as digital, the clients were not sure about the output and quality of digital cameras. The camera which I was using, Fuji S2Pro, had the option of clicking in TIFF mode besides JPEG, RAW processing was not common as editing software were not very advanced unlike today.

On a 512mb memory card, there was a possibility of storing only 28 images, each file size being around 18mb, lesser than a film roll with 36 exposures and almost double than medium format film rolls. Two memory cards were always insufficient for the days shoot considering exposure bracketing.

Buying more memory cards was not a cheap option and laptops were not inexpensive either.

As a standby during that time I requested my friend to bring the Digital Photo Copy Cruiser by Alera Technologies from USA, it was never launched in India and I paid around ₹10000/- for it. I read about this product in an international photography magazine, not much of information was available on internet during those days.

This product was revolutionary which enabled the copying of digital photos directly from camera memory cards to CD without a computer. Each CD can store 700mb data which was more than sufficient for one memory card of 512mb.

This device with two memory cards and lots of blank CDs became an integral part of my camera kit bag and served my purpose for many years till the time memory cards started coming with higher storage capacity and became affordable.

Photos from memory cards could be added to the CD in multi-session format so the full capacity of the CD could be used, though I never used this feature . It could also be used as a USB 2.0 36x CD recorder when connected to a computer. The Digital Photo Copy Cruiser supported the following Digital Memory Card formats: CF Type I and II, SD, MMC, SM, MS, MS Pro, and Micro Drive.

I read somewhere that this device became very popular with intelligence and detective agencies as it didn’t leave a trail since no computers were used to transfer the images from the memory card resulting in utmost secrecy.

The technological advancements in last fifteen years or so has made a tremendous impact on photography, cameras have become much more affordable resulting in democratisation where more people are able to pursue the craft either as hobby or profession. The initial days of transition from film to digital was a great learning experience, things were changing at a rapid pace as compared to present. It is now the time again to concentrate on the art of photography rather than worrying about the changing technology.

©️ Ravi Dhingra

Canon Speedlite 470EX-AI Review

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New products, new models  are launched almost every day, most of these are either result of remodelling of the existing range or some improvements in the previous ones. A technical breakthrough is not very common, to come up with something innovative and unique decides the future of technology. The innovation opens up avenues for advancement and improvements and further opens doors for more innovations. 

There are various models of speedlites available for the photographers, some are dedicated ones manufactured and marketed by camera companies and some are sold by third party vendors. Most of these camera flashes are identical in nature, these are “kind of standardised” and offer default features. 

The new Canon 470EX-AI can easily be called a revolutionary product which is breaking barriers. A true innovation which will change the way speedlites are designed and used. AI stands for Auto Intelligent and is actually intelligent enough to make flash photography extremely simple even for amateurs.

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Photograph below is taken without flash in extremely low light situation resulting in noise.

Camera EOS M50 , Lens: EF-M15-45mm f/3.5-6.3 IS STM, 45mm, f6.3, 1/16sec, ISO 6400

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Direct flash whether in-built on the camera or external speedlite though light up the subject but cause unpleasant shadows.

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Bouncing the light either using white ceiling or white walls using external flash is widely used by photographers to evenly light the subject. Using bounce flash is complicated, need experience and expertise. Canon 470EX-AI, world’s first flash with an AI Bounce function, has made this process extremely simple, press of a button on the speedlite invokes the intelligence and makes flash photography a cakewalk. 

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Besides working as a normal external flash with all controls typically present, setting it on  F(Full)-AI.B mode totally changes the way this speedlite acts. After composing the scene in the frame and pressing AI.B button, the speedlite performs a few operations- measuring camera/subject, and subject/ceiling distance, the flash head swivels in multiple directions to formulate the ideal bounce flash angle and automatically sets for optimum flash output for bouncing the light, no more unpleasant shadows. While changing the orientation of camera from horizontal to vertical or other way round, pressing shutter release button twice realigns the flash direction and gives the exact same result.

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When the subject-camera distance is changed, pressing the AI.B button will repeat the process and recalculate the ideal angle for bouncing the light and optimum output.

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In AI.B Semi-auto mode, photographer can set  their own bounce angle settings and the flash can automatically maintain its angle even when there is a change between horizontal and vertical camera orientation. By pressing the shutter button twice the flash head automatically moves into the preset angle and position.

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In the photographs below the mode chosen is S, Semi Automatic and the flash head is pointed towards wall on the side, once on left side and next on right side. The flash head automatically rotates towards the set angle when camera orientation is changed from horizontal to vertical. With the light bouncing off the wall on side, there is a nice play of light and shadow on the face.

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When it is difficult to autofocus on the subject in low-light or when contrast is low during viewfinder shooting, the infrared AF-assist beam built into the flash is automatically emitted to help in autofocus. With this flash mounted on the camera, focusing in low light conditions will no longer an issue. All these photographs have been clicked in low light and there was no issue in focussing on the subject whatsoever.

As mentioned before, the M (Manual) mode will make the speedlite like any other normal external flash, the flash head can set in the desired angle manually  irrespective of camera orientation. It is only in S (Semi) and F(Full) Auto Intelligent Bounce mode the speedlite takes control of the situation and sets the angles according to the distance between subject/camera and subject/ceiling.

Canon 470EX-AI is meant for both professional photographers who are seeking more automation as well as for amateurs who are clueless about flash photography. The speedlite is most suited for covering events, clicking portraits and even products where the subject get evenly lit with nice soft bounced light.

All the Portraits above are taken with the mirrorless camera from Canon:

EOS M50 , Lens: EF-M15-45mm f/3.5-6.3 IS STM

Model: Arnav Dhingra

See how the Canon Speedlite 470EX-AI works

for more information, click here:

Canon 470EX-AI Features and Specifications

Canon R Full Frame Mirrorless Camera

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The wait is finally over, as expected Canon has come up with a full frame mirrorless camera. Canon introduced crop sensor mirrorless cameras around four years back but did not aggressively promote these till EOS M50 was launched sometime back. With the competition increasing in full frame mirrorless category cameras, Canon has come up with EOS R system – Reimagining future. It is almost after 30 years after introduction of EOS and EF mount , a major change is being brought in with the new R mount.

Continuing with the philosophy of selling cameras which provide excellent image quality, ease of use and durability, the magnesium alloy body with the patented grip and placement of buttons makes this camera not only durable, easy to handle but good looking too.The diameter of mount remains the same at 54 mm but the distance between the mount and sensor plane has come down to 20 mm which in future will help in designing better quality compact lenses with wider aperture like f 1.0

The programmable ring on lens to control exposure and touch bar with multi functions on the body are the new, unique and innovative features offered, both of these will make clicking photographs faster with more ease.

Powerful image stabilisation (IS) effect of upto 5 stops

The algorithm to detect camera shake is an evolution from that of EOS DSLR cameras. This IS system acquires camera shake data from both a gyroscopic sensor in the lens and image data from camera’s CMOS sensor. The Dual Sensing IS system can accurately detect and compensate for low frequency (slow) blur that used to be hard to detect with gyroscopic sensors alone. As a result, camera-shake blur is reduced by the equivalent of a 5-stop faster shutter speed.

Combination of optical and electronic IS systems greatly reduce blur caused by low frequency camera shake. When a compatible lens is attached, the camera’s combination IS system uses both the Electronic IS for movies( in the camera) and optical IS in the lens, to significantly improve the performance of 5 axis camera-shake blur compensation.

Right now four R mount lenses have been announced but with the adapter all EF and EFS lenses can be used. The battery remains the same as in 5D & 6 D series, LP-E6/LP-E6N and so does the memory card. All these features are added advantage for photographers who are already using Canon DSLRs or new users who are planning to buy one and want to buy the R mount camera as their first body or an extra body.

Specifications

Image Sensor

Type

36 x 24 mm CMOS

Effective Pixels

Approx. 30.3 megapixels

Total Pixels

Approx. 31.7 megapixels

Aspect Ratio

3:2

Low-Pass Filter

Built-in/Fixed

Sensor Cleaning

EOS integrated cleaning system

Colour Filter Type

Primary Colour

Image Processor

Type

DIGIC 8

Lens

Lens Mount

RF (EF and EF-S lenses can be attached using Mount Adapter EF-EOS R, Control Ring Mount Adapter EF-EOS R, Drop-In Filter Mount Adapter EF-EOS R. EF-M lenses not compatible)

Focal Length

Equivalent to 1.0x the focal length of the lens with RF and EF lenses 1.6x with EF-S

Focusing

Type

Phase-difference detection system with image sensor (Dual Pixel CMOS AF)

AF System/ Points

With Area 88% horizontal and 100% vertical

AF working range

EV -6 – 18 (at 23°C & ISO100)

AF Modes

One Shot

Servo AF

AF Point Selection

Automatic selection: Face + tracking

Manual selection: 1-point AF (AF frame size can be changed)

Manual selection: AF point Expansion 4 points (up, down, left, right)

Manual selection: AF point Expansion surrounding

Manual selection: Zone AF (all AF points divided into 9 focusing zones)

Manual selection: Large Zone AF (Vertical)

Manual selection: Large Zone AF (Horizontal)

AF Lock

Locked when shutter button is pressed halfway or AF ON is pressed in One Shot AF mode. Using customised button set to AF stop in AI servo

AF Assist Beam

Emitted by built in LED or optional dedicated Speedlite (flash)

Manual Focus

Selected on lens

Exposure Control

Metering modes

Real-time with image sensor, 384-zone metering.

(1) Evaluative metering (linked to All AF points)

(2) Partial metering (approx. 6.1% of viewfinder at centre)

(3) Spot metering: Centre spot metering (approx. 2.7% viewfinder at centre)

AF point-linked spot metering not provided

(4) Centre weighted average metering

Metering Brightness Range

EV -3 – 20 (at 23°C, ISO100, with evaluative metering)

AE Lock

Auto: AE lock takes effect when focus is achieved

Manual: By AE lock button in P, Av, Fv, Tv and M modes

Exposure Compensation

+/-3 EV in 1/3 or 1/2 stop increments (can be combined with AEB)

AEB

+/-3 EV in 1/3 or 1/2 stop increments

Anti-flicker shooting

Yes. Flicker detected at a frequency of 100 Hz or 120 Hz. Maximum continuous shooting speed may decrease

ISO Sensitivity

Auto 100-40000 (in 1/3-stop or whole stop increments)

ISO can be expanded to L:50, H1: 51200, H2: 102400

Shutter

Type

Electronically-controlled focal-plane shutter and silent CMOS sensor readout

Speed

30-1/8000 sec (1/2 or 1/3 stop increments), Bulb (Total shutter speed range. Available range varies by shooting mode)

Shutter Release

Soft touch electromagnetic release

White Balance

Type

Auto white balance with the imaging sensor

Settings

AWB (Ambience priority/White priority), Daylight, Shade, Cloudy, Tungsten light, White Fluorescent light, Flash, Custom, Colour Temperature Setting

White balance compensation:

1. Blue/Amber +/-9

2. Magenta/Green +/-9

Custom White Balance

Yes, 1 setting can be registered

WB Bracketing

+/-3 levels in single level increments

3, 2, 5 or 7 bracketed images per shutter release

Selectable Blue/Amber bias or Magenta/Green bias

Viewfinder

Type

0.5-inch OLED colour EVF

Dot count

3.69 Million dots (1280×960)

Coverage (Vertical/Horizontal)

Approx. 100%

Magnification

Approx. 0.76x 1

Eyepoint

Approx. 23mm (from eyepiece lens centre)

Dioptre Correction

-4 to +2 m-1 (dioptre)

Viewfinder Information

AF point information, Exposure level indicator, Number of remaining multiple exposures, Exposure compensation, HDR shooting, Highlight tone priority, Multiple-exposure shooting, ISO speed, Dual Pixel RAW shooting, Possible shots, Multi Shot Noise Reduction, Number of self-timer shooting, Digital Lens Optimizer, Maximum burst, AF method, Battery level, AF operation, Exposure simulation, Drive mode, AEB, Metering mode, FEB, Anti-flicker shooting, Still photo cropping, Shooting mode, Aspect ratio, Scene icons, Auto Lighting Optimizer, AE lock Picture Style, Flash-ready, White balance, Flash off, White balance correction, FE lock, Image Quality, High-speed sync, Bluetooth function, Shutter speed, Wi-Fi function, Multi-function lock warning, Histogram, Aperture, Electronic level, Lens information

Eyepiece shutter

N/A

LCD Monitor

Type

8.01cm (3.15″) Clear View LCD II, approx. 2.1million dots

Coverage

Approx. 100%

Viewing Angle (horizontally/vertically)

Approx. 170° vertically and horizontally

Coating

Anti-smudge. Reinforced glass incorporated

Brightness Adjustment

Manual: Adjustable to one of seven levels

Colour Tone Adjustment: 4 settings

Touch-screen operations

Capacitive method with menu functions, Quick Control settings, playback operations, and magnified display. AF point selection in still and Movies, touch shutter is possible in still photo shooting.

Display Options

(1) Basic Camera settings

(2) Advance Camera settings

(3) Camera settings plus histogram and dual level display

(4) No info

(5) Quick Control Screen

Flash

Modes

E-TTL II Auto Flash, Metered Manual

X-sync

1/200sec

Flash Exposure Compensation

+/- 3EV in 1/3 increments with EX series Speedlite flashes

Flash Exposure Bracketing

Yes, with compatible External Flash

Flash Exposure Lock

Yes

Second Curtain Synchronisation

Yes via Speedlite

HotShoe/ PC terminal

Yes/Yes via Battery Grip BG-E22

External Flash Compatibility

E-TTL II with EX series Speedlite, wireless multi-flash support

External Flash Control

via camera menu screen

Shooting

Modes

Stills; Scene Intelligent Auto, Flexible priority AE, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb and Custom (x3)

Movie: Scene Intelligent Auto, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb and Custom (x3)

Picture Styles

Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3)

Colour Space

sRGB and Adobe RGB

Image Processing

Highlight Tone Priority

Auto Lighting Optimizer (4 settings)

Long exposure noise reduction

High ISO speed noise reduction (4 settings) (still and video)

Lens optical correction:

– Peripheral illumination correction, Chromatic aberration correction, Distortion correction (during/after still photo shooting, during video only)

– Diffraction correction, Digital Lens Optimizer (during/after still photo shooting)

Resize to M, S1, S22

Cropping: JPEG images can be cropped (Aspect ratios 3:2, 4:3, 16:9, 1:1)

– 45 cropping sizes selectable, from 11% to 95% (diagonal)

– Switch between vertical and horizontal cropping orientation

– Image straightening

– Cropping frame can be moved using touch screen operation

RAW image processing3

Multiple exposure

HDR

Drive modes

Single, Continuous High, Continuous Low, Silent Single, Self timer (2s+remote, 10s+remote)

Continuous Shooting

Max. Approx. 8fps. speed maintained for 100 JPEG, 47 RAW, 78 C-RAW images456

Max. 5fps with AF Tracking

Interval timer

4k time lapse movie

Live View Mode

Type

Electronic viewfinder with image sensor

Coverage

Approx. 100% (horizontally and vertically)

Frame Rate

59.97 fps (smooth) / 29.97 fps (power saving)

Focusing

Manual Focus (Magnify the image 5x or 10x at any point on screen)

Autofocus: Dual Pixel CMOS AF (Face Detection and Tracking AF, 1point AF, Expand AF Area Zone AF, and Touch shutter

Metering

Real-time evaluative metering with image sensor (384-zone)

Partial metering (approx. 6.1% of the centre of the screen)

Spot metering (approx. 2.7% of the centre of the screen)

Centre-weighted average metering

Active metering timer can be changed

Display Options

3 levels available Basic shooting information, Advanced shooting information and Advanced shooting information with Histogram

File Type – Stills

Still Image Type

JPEG: 2 compression options

RAW: RAW, C-RAW and Dual Pixel RAW (14-bit, Canon original RAW 3rd edition)

Complies with Exif 2.31 and Design rule for Camera File system 2.0

Complies with Digital Print Order Format [DPOF] Version 1.1

RAW+JPEG simultaneous recording

Yes, any combination of RAW + JPEG possible, including Dual Pixel RAW +JPEG

Image Size

JPEG:

3:2 ratio (L, RAW, C-RAW) 6720×4480, (M1) 4464×2976, (S1) 3360×2240, (S2) 1696×1280

1.6x (crop) (L) 4176×2784, (S2) 2400×1600

4:3 ratio (L) 5952×4480, (M1) 3968×2976, (S1) 2976×2240, (S2) 2112×1600

16:9 ratio (L) 6720×3776, (M1) 4464×2512, (S1) 3360×1888, (S2) 2400×1344

1:1 ratio (L) 4480×4480, (M1) 2976×2976, (S1) 2240×2240, (S2) 1600×1600

Folders

New folders can be manually created and selected

File Numbering

(1) Consecutive numbering

(2) Auto reset

(3) Manual reset

EOS Movie

Movie Type

MP4 Video: 4K (16:9) 3840 x 2160, Full HD, HD

MPEG4 AVC/H.264 variable (average) bit rate, Audio: Linear PCM

Movie Size

4K (16:9) 3840 x 2160 (29.97, 25, 24, 23.98 fps) intra or inter frame7

Full HD (16:9) 1920 x 1080 (59.94, 50, 29.97, 25, 23.98 fps) intra or inter frame

Full HD (16:9) 1920 x 1080 HDR (29.97, 25 fps) inter frame

Full HD (16:9) 1920 x 1080 (29.97, 25) light inter frame

HD (16:9) 1280 x 720 (119.9, 100 fps) intra frame

Colour Sampling (Internal recording)

4K – YCbCr4:2:0 (8-bit)

Full HD/HD – YCbCr4:2:0 (8-bit)

Canon Log

Yes Log 1

Movie Length

4K and Full HD – Max duration 29min 59sec. (excluding High Frame Rate movies). No 4GB file limit with exFAT CF card

High Frame Rate Movie

MOV Video: HD – 1280 x 720 at 100fps or 119.9fps

Recorded as 1/4-speed slow motion movie

Single scene maximum recording up to 7min 29sec.

4K Frame Grab

8.3-megapixel JPEG still image frame grab from 4K movie possible

Bitrate / Mbps

4K (29.97p/25.00p/24.00p/23.98p): ALL-I Approx. 480 Mbps

4K (29.97p/25.00p/24.00p/23.98p): IPB Approx. 120 Mbps

Full HD (59.94p/50.00p): ALL-I Approx. 180 Mbps

Full HD (59.94p/50.00p): IPB Approx. 60 Mbps

Full HD (29.97p/25.00p/24.00p/23.98p): ALL-I Approx. 90 Mbps

Full HD (29.97p/25.00p/24.00p/23.98p): IPB Approx. 30 Mbps

Full HD (29.97p/25.00p): IPB (Light) Approx. 12 Mbps

HD (119.9p/100.0p): ALL-I Approx. 160 Mbps

HD (59.94p/50.00p): ALL-I Approx 80 Mbps

HD (59.94p/50.00p): IPB Approx 26 Mbps

HD (29.97p/25.00p): IPB Approx 13 Mbps

Microphone

Built-in stereo microphones (48 Khz, 16-bit x 2 channels)

HDMI Display

External Monitor only, External Monitor only without information display or Simultaneous on camera and external monitor

HDMI Output

4K (UHD) recording only, uncompressed YCbCr 4:2:2, 8-bit or 10-bit, sound output via HDMI is also possible

Focusing

Dual Pixel CMOS AF with Face Detection and Tracking AF, Movie Servo AF Manual Focus

ISO

4K – Auto: 100-12800, H: 25600, H: 32000, H1: 51200, H2: 102400,

Full HD/HD – Auto: 100-25600, H: 32000, H1: 51200, H2:102400

Dimensions, Weight & Body Materials

Body Materials

Magnesium Alloy body and polycarbonate with glass fibre parts

Operating Environment

0 – 40 °C, 85% or less humidity

Dimensions (W x H x D)

135.8 x 98.3 x 84.4mm

Weight (body only)

Approx. 580 g (660 g with card and battery)

Click below to view Canon R Full Frame Mirrorless Camera video:

https://youtu.be/Jwwf9YWnSZI

The Business of Photography

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So you have an enquiry for a photography assignment and not sure how to go about it, this post is about my experience as a professional photographer for almost 18 years. This post also tries to answer the calls and messages I receive regularly seeking guidance in respect of professional practices.

The photo shoot enquiries are generally generated by either the client directly or through the agency representing the client which could be an advertising agency, a PR firm or an event management entity.

Dealing with or through agencies is much more simpler as compared to the direct client. The various agencies are already aware of the existing deliverables, the prevailing commercial terms and timelines for an assignment whereas the direct client may not be aware of all these which many a times means educating.

Whether dealing with client directly or through agency first and very important step is to understand the assignment and deliverables. The agency most probably will have the artwork or a clear outline of the proposed photo shoot with number of days allocated for the assignment.

For the direct client, especially the one who is getting a shoot done for the first time, it is essential to be on the same wavelength and frequency. I always insist on reference images which can bring out the concept on client’s mind, this ensures that there is no confusion at the time or after the shoot. It is absolutely essential to inform the client about issues or difficulties which may arise during the actual shoot like some products may require extra time or the desired result will only be possible after intensive post processing. Some assignment will require hiring an extra hand like a stylist, it is always better to let experts in the field to take charge. The logistics also need to be worked out at this time- in studio or at location etc. This clarity will help in avoiding any conflicts and help in long term association.

The payment has two components – the amount and terms.

Amount of assignment charges vary from photographer to photographer but the reason for variation is the experience. An experienced photographer will definitely be able to get more assignment charges as compared to a newer one. Here I am trying to avoid quantifying any amount as some photographers are ready to work at really low figure, almost free, because of competition, opportunity of getting exposure etc. The experienced photographer does not charge for pressing the shutter release button but for the vision. The experience helps in getting better photographs in optimum time due to coordinating better with the team consisting of client, agency, stylist, lighting assistants and other members.

The amount charged can either be on the basis of ‘per day’ or ‘per product’.

If working on ‘per day ‘ basis, numbers of hours in a day need to be explicitly mentioned, generally 8 hrs for full day & 4 hrs for half a day. This means reaching on or before the scheduled time and not making anyone wait. Also it is important to inform about the number of shots possible in a day.

While working on ‘per product’ basis, minimum quantity of products to be shot during the day has to be fixed before the shoot, something similar to ‘cover charges’, the client will have to pay a minimum amount even if the quantity of product is less than what was committed. ‘Per Product’ rate is more applicable for e-commerce based clients which is volume based having similar products being shot under similar setups. The assignments, where compositions are involved like food,interiors etc, working on ‘per day ‘ basis is advisable.

Digital Processing Charges also need to be discussed while negotiating with the client. These can either be built in the photography assignment charges or mentioned separately. During the film days, the clients always paid for the cost of film rolls, processing, printing etc over and above the assignment charges. With digital photography, the photographer need to do extra work which earlier was outsourced. Also if the assignment requires intensive post processing which may mean outsourcing to an editing expert, the charges need to be mentioned clearly.

Terms of delivery and payment are equally important, with new clients I do not block a day without receiving an advance which is generally 25% of the total assignment charges and balance 75% on sharing the high resolution photographs. If the client cancels or postpone without giving adequate notice, the advance is not refundable(emergencies are excluded). A set of low resolution images is shared before actually handing over the final set. With existing clients the terms of payment have evolved over a period of time and are more flexible on account of the comfort level.

A typical estimate/ Proforma Invoice on Photographer’s letterhead ( now-a-days computer generated ) will have the following:

Photography assignment charges

Number of days/Number of products

Digital processing charges

Actual expenses (equipment/studio rental, travel etc if agreed upon)

Taxes (GST)

Terms of delivery and payment

PAN ( Permanent Account Number)

Bank Account Details ( if online payment is being made)

GST(Goods & Services Tax): In case the annual income from profession is less than ₹20 lacs, Registration is not mandatory. An undertaking to this may have to be given to the client.

TDS (Tax Deduction at Source) will be applicable which is currently 10% which can be adjusted while filling the Income Tax Return.

All the discussions, reference images, estimates must be put in writing, preferably through email. There has to be a proper record of everything discussed so that there is no confusion at a later date, verbal commitments can’t be relied upon.

A few things which must be always kept in mind.

Never over-commit, if it not possible to give finished images before a particular time, do not give an early deadline. Same applies for agreeing to click more photographs in a day than possible just because client is insisting. Handing over before time or shooting more than expected will build client’s confidence.

Punctuality and timely delivery hold the key, reaching before the shoot and keeping things ready before the arrival of client create a good impression. And since the hours are pre-defined, the discipline from client’s side will also be there. Also avoid taking frequent breaks, could be as simple as avoiding taking phone calls in between.

Once the assignment charges have been fixed( even lower than what you had in mind), give your best, never compromise on the quality just because the client has not agreed to your quote. You are a party to the agreement and there are no afterthoughts. After the scope of work and terms are decided, re-negotiations are strict no.

It is always better that either the client or representative of agency is present during the shoot, if due to certain reasons it is not possible, work out an arrangement with the client for showing the first shot through mail or message and getting the same approved. At times, the smallest of detail matter, which the client or agency can point out, this will help in setting the flow for rest of the shoot.

Be nice to people working with you. Loosing temper, not speaking politely to team members are not signs of professionalism. A good team will make things easier and shooting floor more lively and happy. Have a control over the situation and an ability to troubleshoot with a smile.

In case, there is a dispute at a later date due to any reason, try to reconcile with the client amicably. A fight may result in forfeiting payment and loosing future business prospects. Offer a re-shoot if there is shortcoming at your end, keep the customer satisfied.

Happy Clicking !

© Ravi Dhingra