photocomment september 2009

Professional Portfolio:Christine Meintjes

Reader Portfolio:Laetitia Kenny

3 Basic Mistakes

New Sony Alpha 550

SEPTEMBER 2009

Professional Portfolio:Christine Meintjes

Reader Portfolio:Laetitia Kenny

3 Basic Mistakes

New Sony Alpha 550

SEPTEMBER 2009

10.2-Megapixel imaging

in the smallest, lightest

body ever.

The new DSLRs with Quick AF Live View have arrived.

• BIONZ ™ Image Processor • SteadyShot ® INSIDE • D-Range Optimiser • Eye-Start ® Activation • Anti-Dust Protection • 9-Point Centre-Cross AF • Up to ISO 3200 • HDMI Connectivity

There’s no better way to capture the beautiful game than with the new user-friendly graphic displays, on-screen help guides and more streamlined bodies of the latest range. With Quick AF Live View coupled with a 2.7-inch tiltable LCD in the 380 and 330, you’ll never miss those exciting shots. And at 450g, the 230 is the world’s lightest DSLR among APS-C and full-frame size DSLRs. What’s more, with Sony’s unique technologies such as SteadyShot® INSIDE and D-Range Optimiser, great photography has never been easier.

with Quick AF Live View.

14 2 M i l i i

Sony’s range nets three exciting new members.

OFFICIAL FIFA PARTNER

www.sony.co.za | Sony Consumer Information Centre (011) 690-3555

* 380 will only be available from September 2009. 330 & 230 available immediately.** Not available with Quick AF Live View.

22616 A380.indd 122616 A380.indd 1 7/17/09 11:22:05 AM7/17/09 11:22:05 AM

Editor’s Comment 4

Readers Comments 4We want to hear from [email protected]

Scoop 6All about what is happeningin the photographic world locally and internationally

Professional Portfolio 8Christine Meintjes

Technique 14Are you making these 3 basic photography mistakes

Reader Portfolio 16 Laetitia Kenny

Review 18 Sony Alpha A550 DSLR

Final Comment 21

SEPTEMBER 2009

Whilst all care and attention is employed to ensure the legitimacy, accuracy and correctness of the information, data, texts, images, ideas, photographs and opinions expressed herein, PHOTOCOMMENT cannot be held responsible or liable in any way whatsoever for the content as it appears herein. Similarly, PHOTOCOMMENT makes no express or implied warranty or representation as to the proprietorship or intellectual property inherent in the images and photographs published herein and which it has commissioned for use from external sources on good faith dealing. Accordingly, PHOTOCOMMENT is hereby indemnified, defended and held harmless against all claims, liability, damages, costs and expenses in regard thereto.

International and local Intellectual Property and Copyright laws protect all material (text, images, photographs, graphics, software and icons) used herein. You are only permitted to download, copy or print this on-line publication or any features there from for personal, instructional and non-commercial use.

Founder: Tristan Hall

Editor: Wilhelmus Moller

Design & Layout: Greg Wrench

Contact: [email protected]

Website: http://photocomment.net

To advertise in PhotoComment please

email us at [email protected]

Cover Image:

Cover Image by:

Christine Meintjes

in the smallest, lightest

body ever.

The new DSLRs with Quick AF Live View have arrived.

• BIONZ ™ Image Processor • SteadyShot ® INSIDE • D-Range Optimiser • Eye-Start ® Activation • Anti-Dust Protection • 9-Point Centre-Cross AF • Up to ISO 3200 • HDMI Connectivity

There’s no better way to capture the beautiful game than with the new user-friendly graphic displays, on-screen help guides and more streamlined bodies of the latest range. With Quick AF Live View coupled with a 2.7-inch tiltable LCD in the 380 and 330, you’ll never miss those exciting shots. And at 450g, the 230 is the world’s lightest DSLR among APS-C and full-frame size DSLRs. What’s more, with Sony’s unique technologies such as SteadyShot® INSIDE and D-Range Optimiser, great photography has never been easier.

14 2 M i l i i

Sony’s range nets three exciting new members.

OFFICIAL FIFA PARTNER

www.sony.co.za | Sony Consumer Information Centre (011) 690-3555

* 380 will only be available from September 2009. 330 & 230 available immediately.** Not available with Quick AF Live View.

22616 A380.indd 122616 A380.indd 1 7/17/09 11:22:05 AM7/17/09 11:22:05 AM

Editor’s Comment 4

Readers Comments 4We want to hear from [email protected]

Scoop 6All about what is happeningin the photographic world locally and internationally

Professional Portfolio 8Christine Meintjes

Technique 14Are you making these 3 basic photography mistakes

Reader Portfolio 16 Laetitia Kenny

Review 18 Sony Alpha A550 DSLR

Final Comment 21

SEPTEMBER 2009

Whilst all care and attention is employed to ensure the legitimacy, accuracy and correctness of the information, data, texts, images, ideas, photographs and opinions expressed herein, PHOTOCOMMENT cannot be held responsible or liable in any way whatsoever for the content as it appears herein. Similarly, PHOTOCOMMENT makes no express or implied warranty or representation as to the proprietorship or intellectual property inherent in the images and photographs published herein and which it has commissioned for use from external sources on good faith dealing. Accordingly, PHOTOCOMMENT is hereby indemnified, defended and held harmless against all claims, liability, damages, costs and expenses in regard thereto.

International and local Intellectual Property and Copyright laws protect all material (text, images, photographs, graphics, software and icons) used herein. You are only permitted to download, copy or print this on-line publication or any features there from for personal, instructional and non-commercial use.

Founder: Tristan Hall

Editor: Wilhelmus Moller

Design & Layout: Greg Wrench

Contact: [email protected]

Website: http://photocomment.net

To advertise in PhotoComment please

email us at [email protected]

Cover Image:

Cover Image by:

Christine Meintjes

his month we have another feature packed T issue of PhotoComment. We get to see the

amazing work of Christine Meintjes, one of

South Africa’s most sought after wedding

photographers. We also meet Laetitia Kenny in

our Readers Portfolio and see the interesting

things she does with her images. We review the

new range of Sony DSLR’s released in August.

We also discuss 3 common mistakes made by

people starting out in photography and how to

correct these.

PhotoComment is continually striving to improve

and become a magazine that you, the readers, will

eagerly await each month. We are discussing

many improvements and changes that will make

PhotoComment South Africa’s photo publication

of choice. Watch this space!

Editor’s Comment

Readers CommentsWe welcome feedback about what you think of

PhotoComment Magazine. Your stories, experiences,

questions, inspirations, are all welcome and can be sent

to [email protected] enter “Letters” as the

subject. Each month we will publish some of your

feedback.

Win Stand a chance to win by contributing to our

Readers Letters section.Camera Stabilising Bag

sponsored by Tandem Focus

Distributors

TANDEM

It is with this in mind that we recently revamped

our website. We will keep the website updated

regularly through the month so that you can get

your fix of Photo News at any time. There is a

forum for you to discuss all your photographic

related topics, regular polls, and all the latest

photographic news. We encourage your feedback

and the website is there for you to make yourself

heard or seen (you will soon be able to submit

your portfolio online.) The website links directly

to the latest issue of PhotoComment Magazine

making it easier to read PhotoComment than ever

before.

You can find us online at http://photocomment.net

Happy reading

Photocomment Designer

Quotes

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With Gary Fong Lightsphere-II

“Not everything that counts can be counted, and not everything that can be counted counts”

Sign hanging in Einstein’s office at Princeton

“Reality is merely an illusion, albeit a very persistent one”

Albert Einstein

“The secret to creativity is knowinghow to hide your sources”

Albert Einstein

“Imagination is more importantthan knowledge”

Albert Einstein

The first week of September saw the release

of many new and exciting products to the

photographic industry. We look briefly at the

new line up from Leica, the new Sony Alpha

A850, the new Canon EOS 7D, a new 100mm

Macro Lens from Canon and Tamron’s new

17-50mm f2.8 lens. Plus PhotoComment’s

new website!

mergexhibition26 August - 15 November 2009

Frieda’s Gallery, 15 Bree Street, Cape Town.

www.mergexhibition.com

Merge - an ongoing series of five collaborative exhibitions

beginning with the theme of water and set to change every 3

months - five photographers examine five elements - each

from their own unique perspective.

The participants of this group show -

Ruvan Boshoff, Greg English, David Gur, Trevor Samson &

Dale Yudelman met in the 1980’s and worked for various

news media during the most turbulent years of the apartheid

era. Since those days their career paths have diverged

although their personal friendships have endured.

The elements: water, fire, air, earth and aether are

commonalities in the experience of our humanity;

influencing: cultural and spiritual geographies, social

climate and natural ecologies. In their exploration of these

powerful themes, a portrait of the times and environments in

which we experience these forces is set to evolve.

“THE UNSEEN WORKS” EXHIBITION17 September –1 December 2009

Rooke Gallery, Newtown, Johannesburg

A rare collection of unseen works by two respective iconic artists

Mark kannemeyer : the berlin paintings

Roger ballen : the vintage photographs

More about mark kannemeyers berlin paintings:

Whilst Mark was completing his Meisterschüler (Cum Laude) in

Berlin (1986-1992) he produced a number of large-scale

paintings. The works returned to South Africa upon Mark’s

return from exile in 1996 and have been stored ever since. He

has refused to paint any new works. Whilst Mark is renowned

for his acclaimed illustration under the name of Lorcan White

and his role in the legendary Bitterkomix series, his paintings

have largely remained a secret. Rooke Gallery acquired the full

collection of paintings and requested Mark’s permission to

exhibit the works along with twelve unseen illustrations

completed by Mark over the same period in Berlin.

More about roger ballen’s unseen and vintage photographs:

Roger Ballen will present a collection of his vintage photographs

that stretch back to the early 1970’s. This exclusive collection

provides a rare glimpse into Roger’s world that to date has

remained hidden. It further provides context to to the trajectory

of Ballen’s career over the last 30 years.

www.rookegallery.com

Sony brings full-frame quality to a

new class of DSLR photo entusiastsAimed at experienced shooters looking for value and

sophisticated SLR

performance, Sony

introduced the full-frame

α (alpha) DSLR-A850

camera.

The α850 model shares

the same 24.6 megapixel

sensor and most features

of the flagship α900 camera, introduced last year, but will be

available for just under $(body only).

“Sony is bringing the benefits of a full-frame digital SLR

camera to a broader group of consumers,” said Kristen

Elder, director of the Digital Imaging business at Sony

Electronics. “The α850 strengthens Sony’s alpha DSLR line,

which now offers models in each step from high-end

professional down to the amateur enthusiast.”

The α850 camera is designed to deliver ultra-fine picture

quality with a high resolution, 24.6-megapixel, 35-mm full-

frame Exmor™ CMOS sensor and fast image processing

with dual BIONZ™ processing engines. It also offers high-

speed continuous shooting of 24.6 megapixel images at up

to three frames per second.

At the same time Sony released the Alpha A550, see the

review later in this issue.

‘touchstone building’ - dale yudelman

TAMRON SP AF17-50MM VC FOR

NIKON DX-FORMAT DSLR

On 1 September 2009, Tamron USA, Inc. released the SP

AF17-50mm F/2.8 XR Di II* VC LD Aspherical [IF], a high

speed f/2.8 wide-to-moderate-telephoto zoom lens designed

exclusively for Nikon-mount digital SLR cameras with

smaller sensors. The new SP 17-50mm F/2.8 XR Di II VC

covers the very popular 17-50mm focal length range making

it extremely versatile. The new lens delivers impressive

sharpness and striking contrast over its entire focal-length

and aperture range, and at its maximum aperture of f/2.8 it

produces beautiful images enhanced by shallow depth of-

field, and smooth, natural transitions in out-of-focus areas of

the image. The new lens is equipped with Tamron’s

proprietary Vibration Compensation (VC) image

stabilization mechanism, which controls the effects of

camera shake in three planes. VC provides more

opportunities for sharp hand-held photography at the slow

shutter speeds needed when

shooting in low-light conditions

dramatically enhancing the user’s

level of photographic freedom.

Tamron plans to introduce the

lens in a Canon mount version

shortly after the new Nikon

mount version with built-in motor

hits the market.

Canon EF 100mm f2.8 Macro IS USM

the first EF lens to feature Hybrid ISThe 1st of September also saw the launch of the high

performance EF 100mm f/2.8L Macro IS USM, the latest

addition to its prestigious L-series, Canon’s flagship

professional lens range. The EF 100mm

f/2.8L Macro IS USM incorporates image stabilisation in a

macro lens for the first time in the EOS lens range. This enables

photographers to capture stunning close-up shots without the

need for a tripod.

The new Hybrid IS system features up to 4-stop correction,

compensating for the effects of camera shake, during normal

shooting. Hybrid IS corrects shift movement problematic when

shooting up close -as well as angular movement providing

photographers with the benefit of up to 2 stops at 1.0x

magnification.

The EF 100mm f/2.8L Macro IS USM features ultra low

dispersion (UD) lenses that correct colour aberration for high

resolution, high contrast images while the addition of Super

Spectra coatings effectively reduce ghosting and flare for

superior quality images. The lens also includes a three position

focus limiter to tailor the focus system range to the desired

subject.

CANON EOS 7DThis month Canon unveiled the EOS 7D digital SLR

camera. Incorporating a new 18MP APS-C CMOS Sensor,

developed by Canon, the EOS 7D also features: Dual

“DIGIC 4” processors to offer fast, high-quality

performance in all light conditions, an ISO range

expandable to 12,800 and continuous shooting at 8 frames

per second. During extensive development Canon went back

to the drawing board, listening to photographers worldwide

in order to design the EOS 7D to meet their specific needs.

Commenting on the creation of the EOS 7D, Mr Uchidoi,

Group Executive of Photo Products Group, Canon Inc.

Japan said “We consulted over 5,000 photographers

worldwide and asked them what they most wanted to see

from a camera. Matching this

insight with cutting-edge

technology, we were able

to develop a camera that

gives photographers the

versatile tool they require

to experiment with their

images.”

Leica M9On 09-09-09 Leica

officially revealed

the M9 - a full

frame version of

its M-mount

rangefinder. The

Leica M9, with its

24 x 36mm, 18

megapixel sensor

is, according to the company: 'the world's smallest full-

frame system camera.' The body is available in a new 'Steel

Gray' finish and offers minor button re-arrangement over

the M8 - all the major changes relate to the internals. The

Kodak-developed CCD sensor features improved offset

microlenses to optimize performance at the edges of the

frame along with a sensor cover with improved filtering of

infrared light so lens-mounted IR filters are no longer

needed. Most importantly, the 35mm film-sized sensor

means every Leica M-mount lens provides the originally

intended field of view.

The first week of September saw the release

of many new and exciting products to the

photographic industry. We look briefly at the

new line up from Leica, the new Sony Alpha

A850, the new Canon EOS 7D, a new 100mm

Macro Lens from Canon and Tamron’s new

17-50mm f2.8 lens. Plus PhotoComment’s

new website!

mergexhibition26 August - 15 November 2009

Frieda’s Gallery, 15 Bree Street, Cape Town.

www.mergexhibition.com

Merge - an ongoing series of five collaborative exhibitions

beginning with the theme of water and set to change every 3

months - five photographers examine five elements - each

from their own unique perspective.

The participants of this group show -

Ruvan Boshoff, Greg English, David Gur, Trevor Samson &

Dale Yudelman met in the 1980’s and worked for various

news media during the most turbulent years of the apartheid

era. Since those days their career paths have diverged

although their personal friendships have endured.

The elements: water, fire, air, earth and aether are

commonalities in the experience of our humanity;

influencing: cultural and spiritual geographies, social

climate and natural ecologies. In their exploration of these

powerful themes, a portrait of the times and environments in

which we experience these forces is set to evolve.

“THE UNSEEN WORKS” EXHIBITION17 September –1 December 2009

Rooke Gallery, Newtown, Johannesburg

A rare collection of unseen works by two respective iconic artists

Mark kannemeyer : the berlin paintings

Roger ballen : the vintage photographs

More about mark kannemeyers berlin paintings:

Whilst Mark was completing his Meisterschüler (Cum Laude) in

Berlin (1986-1992) he produced a number of large-scale

paintings. The works returned to South Africa upon Mark’s

return from exile in 1996 and have been stored ever since. He

has refused to paint any new works. Whilst Mark is renowned

for his acclaimed illustration under the name of Lorcan White

and his role in the legendary Bitterkomix series, his paintings

have largely remained a secret. Rooke Gallery acquired the full

collection of paintings and requested Mark’s permission to

exhibit the works along with twelve unseen illustrations

completed by Mark over the same period in Berlin.

More about roger ballen’s unseen and vintage photographs:

Roger Ballen will present a collection of his vintage photographs

that stretch back to the early 1970’s. This exclusive collection

provides a rare glimpse into Roger’s world that to date has

remained hidden. It further provides context to to the trajectory

of Ballen’s career over the last 30 years.

www.rookegallery.com

Sony brings full-frame quality to a

new class of DSLR photo entusiastsAimed at experienced shooters looking for value and

sophisticated SLR

performance, Sony

introduced the full-frame

α (alpha) DSLR-A850

camera.

The α850 model shares

the same 24.6 megapixel

sensor and most features

of the flagship α900 camera, introduced last year, but will be

available for just under $(body only).

“Sony is bringing the benefits of a full-frame digital SLR

camera to a broader group of consumers,” said Kristen

Elder, director of the Digital Imaging business at Sony

Electronics. “The α850 strengthens Sony’s alpha DSLR line,

which now offers models in each step from high-end

professional down to the amateur enthusiast.”

The α850 camera is designed to deliver ultra-fine picture

quality with a high resolution, 24.6-megapixel, 35-mm full-

frame Exmor™ CMOS sensor and fast image processing

with dual BIONZ™ processing engines. It also offers high-

speed continuous shooting of 24.6 megapixel images at up

to three frames per second.

At the same time Sony released the Alpha A550, see the

review later in this issue.

‘touchstone building’ - dale yudelman

TAMRON SP AF17-50MM VC FOR

NIKON DX-FORMAT DSLR

On 1 September 2009, Tamron USA, Inc. released the SP

AF17-50mm F/2.8 XR Di II* VC LD Aspherical [IF], a high

speed f/2.8 wide-to-moderate-telephoto zoom lens designed

exclusively for Nikon-mount digital SLR cameras with

smaller sensors. The new SP 17-50mm F/2.8 XR Di II VC

covers the very popular 17-50mm focal length range making

it extremely versatile. The new lens delivers impressive

sharpness and striking contrast over its entire focal-length

and aperture range, and at its maximum aperture of f/2.8 it

produces beautiful images enhanced by shallow depth of-

field, and smooth, natural transitions in out-of-focus areas of

the image. The new lens is equipped with Tamron’s

proprietary Vibration Compensation (VC) image

stabilization mechanism, which controls the effects of

camera shake in three planes. VC provides more

opportunities for sharp hand-held photography at the slow

shutter speeds needed when

shooting in low-light conditions

dramatically enhancing the user’s

level of photographic freedom.

Tamron plans to introduce the

lens in a Canon mount version

shortly after the new Nikon

mount version with built-in motor

hits the market.

Canon EF 100mm f2.8 Macro IS USM

the first EF lens to feature Hybrid ISThe 1st of September also saw the launch of the high

performance EF 100mm f/2.8L Macro IS USM, the latest

addition to its prestigious L-series, Canon’s flagship

professional lens range. The EF 100mm

f/2.8L Macro IS USM incorporates image stabilisation in a

macro lens for the first time in the EOS lens range. This enables

photographers to capture stunning close-up shots without the

need for a tripod.

The new Hybrid IS system features up to 4-stop correction,

compensating for the effects of camera shake, during normal

shooting. Hybrid IS corrects shift movement problematic when

shooting up close -as well as angular movement providing

photographers with the benefit of up to 2 stops at 1.0x

magnification.

The EF 100mm f/2.8L Macro IS USM features ultra low

dispersion (UD) lenses that correct colour aberration for high

resolution, high contrast images while the addition of Super

Spectra coatings effectively reduce ghosting and flare for

superior quality images. The lens also includes a three position

focus limiter to tailor the focus system range to the desired

subject.

CANON EOS 7DThis month Canon unveiled the EOS 7D digital SLR

camera. Incorporating a new 18MP APS-C CMOS Sensor,

developed by Canon, the EOS 7D also features: Dual

“DIGIC 4” processors to offer fast, high-quality

performance in all light conditions, an ISO range

expandable to 12,800 and continuous shooting at 8 frames

per second. During extensive development Canon went back

to the drawing board, listening to photographers worldwide

in order to design the EOS 7D to meet their specific needs.

Commenting on the creation of the EOS 7D, Mr Uchidoi,

Group Executive of Photo Products Group, Canon Inc.

Japan said “We consulted over 5,000 photographers

worldwide and asked them what they most wanted to see

from a camera. Matching this

insight with cutting-edge

technology, we were able

to develop a camera that

gives photographers the

versatile tool they require

to experiment with their

images.”

Leica M9On 09-09-09 Leica

officially revealed

the M9 - a full

frame version of

its M-mount

rangefinder. The

Leica M9, with its

24 x 36mm, 18

megapixel sensor

is, according to the company: 'the world's smallest full-

frame system camera.' The body is available in a new 'Steel

Gray' finish and offers minor button re-arrangement over

the M8 - all the major changes relate to the internals. The

Kodak-developed CCD sensor features improved offset

microlenses to optimize performance at the edges of the

frame along with a sensor cover with improved filtering of

infrared light so lens-mounted IR filters are no longer

needed. Most importantly, the 35mm film-sized sensor

means every Leica M-mount lens provides the originally

intended field of view.

CHRISTINE MEINTJESCHRISTINE MEINTJES

CHRISTINE MEINTJEShristine Meintjes is a passionate, young wedding and portrait photographer from Cape Town, South Africa. Her passion for Cphotography was born when she started out as an assistant for a local wedding photographer on weekends. In pursuing her

passion for creativity she studied and completed a BA in Visual Communications, specialising in graphic design and photography,

at the University of Stellenbosch. We were able to ask her a few questions about herself and her work.

PC: How did your interest in

photography begin?

CM: I actually went for a photo shoot

with a local wedding and portrait

photographer when I was 14. On the

shoot I did all my own styling

(because I thought that was how it

worked.) The photographer

asked me whether I had done this

before, I hadn't it was just instinct. I've

always had an eye for detail and loved

any thing creative! My mom took me

to art classes ever since I can

remember. After the shoot the

photographer offered me the

opportunity to help out on photo

shoots and I soon became her assistant

on weekends. I loved it! Which 14

year old hangs out at weddings every

weekend? I saw beautiful things every

weekend and I had lots of time to

observe and learn. I basically just

carried everything, changed lenses and

film (yes we were still on film

those days.) I soon realised that I love

photography and since then I've taken

every opportunity that came my way

to learn, and improve my portfolio.

PC: Why wedding photography?

CM: Well apart from the fact that this

is where my interest started, it's an

opportunity to make ordinary people

look extraordinary. I also love the fact

that weddings are such a happy

environment.

PC: The wedding photography market

is by far the most competitive and

some would venture to even say over

populated genre. How do you set

yourself apart from the rest of the

CM: First of all I believe there is a

place for each one under the sun. I had

a similar question from another

photographer the other day and I told

her that it's important to build your

business around your personality.

Photography for me is a very personal

thing. I believe you photograph in the

way you see things. I'm very aware of

detail, I love clean lines, I'm a slave to

quality and I'm a perfectionist by

nature and thats (hopefully) reflected

CHRISTINE MEINTJEShristine Meintjes is a passionate, young wedding and portrait photographer from Cape Town, South Africa. Her passion for Cphotography was born when she started out as an assistant for a local wedding photographer on weekends. In pursuing her

passion for creativity she studied and completed a BA in Visual Communications, specialising in graphic design and photography,

at the University of Stellenbosch. We were able to ask her a few questions about herself and her work.

PC: How did your interest in

photography begin?

CM: I actually went for a photo shoot

with a local wedding and portrait

photographer when I was 14. On the

shoot I did all my own styling

(because I thought that was how it

worked.) The photographer

asked me whether I had done this

before, I hadn't it was just instinct. I've

always had an eye for detail and loved

any thing creative! My mom took me

to art classes ever since I can

remember. After the shoot the

photographer offered me the

opportunity to help out on photo

shoots and I soon became her assistant

on weekends. I loved it! Which 14

year old hangs out at weddings every

weekend? I saw beautiful things every

weekend and I had lots of time to

observe and learn. I basically just

carried everything, changed lenses and

film (yes we were still on film

those days.) I soon realised that I love

photography and since then I've taken

every opportunity that came my way

to learn, and improve my portfolio.

PC: Why wedding photography?

CM: Well apart from the fact that this

is where my interest started, it's an

opportunity to make ordinary people

look extraordinary. I also love the fact

that weddings are such a happy

environment.

PC: The wedding photography market

is by far the most competitive and

some would venture to even say over

populated genre. How do you set

yourself apart from the rest of the

CM: First of all I believe there is a

place for each one under the sun. I had

a similar question from another

photographer the other day and I told

her that it's important to build your

business around your personality.

Photography for me is a very personal

thing. I believe you photograph in the

way you see things. I'm very aware of

detail, I love clean lines, I'm a slave to

quality and I'm a perfectionist by

nature and thats (hopefully) reflected

in my work. In that way I believe I'll

always be different from other

photographers. I shoot in the way I am.

My shots reflect me.

PC:What is the most challenging venue

you've had to shoot a wedding at?

CM: I once did a wedding under a

thatch roof in a wooden cabin-like

venue. It was extremely challenging! I'm

not a big fan of flash and I always try

and make the photos look very natural.

During the reception I couldn't bounce

my flash, because the thatch just

absorbed everything. I used a Gary Fong

dome that acts as a "white ceiling", but

realized I'd need a few off camera

flashes. Since then I've bought some

pocket wizards and now I'm trying that

out. I'm quite impressed with the

outcome, but to be honest I'm still

learning about off camera flash. I

suppose you never stop learning in this

industry which is probably a good thing.

“...it's an opportunity to make ordinary people look extraordinary”

PC: Have you had to deal with difficult family relationships

at weddings? How do you work in these situations?

CM: Luckily I've never encountered a REALLY difficult

situation. I have however had a few complicated situations,

such as separated parents that don't talk to one another. To

avoid any awkward moments, I always meet up with my

clients the week before the wedding and in this session I

always ask them about their family. If there are any issues, I

take notes and make sure I work around these on the big day.

I always act professionally and by this I mean I respect my

clients and all the other people at the wedding. I have

however had a few nervous moms and brides, but that is

why I always carry some Rescue Remedy (a natural calm

aid) with me. I offer this to them to calm the nerves. It works

like a bomb! I highly recommend it as an add on to any

wedding photographers gear

PC: Do you go for the posed or more photojournalistic look?

CM: I go for something in between. I do shoot in a

photojournalistic style when the opportunity arises, but I do

believe as a professional half of my job is to direct. This is

probably the strongest during the couple shoot. I'm not bossy

at all and I'm always in the background, but I do direct my

in my work. In that way I believe I'll

always be different from other

photographers. I shoot in the way I am.

My shots reflect me.

PC:What is the most challenging venue

you've had to shoot a wedding at?

CM: I once did a wedding under a

thatch roof in a wooden cabin-like

venue. It was extremely challenging! I'm

not a big fan of flash and I always try

and make the photos look very natural.

During the reception I couldn't bounce

my flash, because the thatch just

absorbed everything. I used a Gary Fong

dome that acts as a "white ceiling", but

realized I'd need a few off camera

flashes. Since then I've bought some

pocket wizards and now I'm trying that

out. I'm quite impressed with the

outcome, but to be honest I'm still

learning about off camera flash. I

suppose you never stop learning in this

industry which is probably a good thing.

“...it's an opportunity to make ordinary people look extraordinary”

PC: Have you had to deal with difficult family relationships

at weddings? How do you work in these situations?

CM: Luckily I've never encountered a REALLY difficult

situation. I have however had a few complicated situations,

such as separated parents that don't talk to one another. To

avoid any awkward moments, I always meet up with my

clients the week before the wedding and in this session I

always ask them about their family. If there are any issues, I

take notes and make sure I work around these on the big day.

I always act professionally and by this I mean I respect my

clients and all the other people at the wedding. I have

however had a few nervous moms and brides, but that is

why I always carry some Rescue Remedy (a natural calm

aid) with me. I offer this to them to calm the nerves. It works

like a bomb! I highly recommend it as an add on to any

wedding photographers gear

PC: Do you go for the posed or more photojournalistic look?

CM: I go for something in between. I do shoot in a

photojournalistic style when the opportunity arises, but I do

believe as a professional half of my job is to direct. This is

probably the strongest during the couple shoot. I'm not bossy

at all and I'm always in the background, but I do direct my

client to create natural moments that can be captured. They

are real moments, but most of the time I directed them.

I see things differently than the client sees them, so it's

important to remove the chair in the back or to ask the bride

to place her hand on his shoulder etc.

PC: What is your greatest asset on the big day?

CM: I do whatever I can to make my clients feel like movie

stars on the day.

PC: What are your terms and what key points do you discuss

in your first meeting with clients?

CM: I have a very strong policy that I don't reserve dates. I

will only reserve a date on presentation of a 50% deposit.

Most of my clients are international, so we communicate

over email and then I meet them the week before the

wedding, but whether it's an email or a meeting I ask my

client where the wedding is going to take place, what

"theme" or feeling they want to create for their wedding. It's

important to know what look or feel my clients want for

their wedding, in order to create the best outcome.

I also explain to them how I normally work on a wedding

day and then we discuss how many group shots they want

with friends and family. I try and keep this to a small group

of people, because I still need to do the bridal portraits after

that and I don't want the guests to wait too long before the

bride and groom enter the reception. I also then ask my

client if they have any particular shots they want, I don't

want to have any unhappy clients afterwards, so I make sure

I know exactly what they expect.

PC: Can you describe your perfect wedding for us?

CM: Perfect light in every area (getting dressed, ceremony,

couple shoot and the reception), a couple that are highly in

love, beautiful décor and lots of emotion.

PC: How do you prepare to shoot an individual wedding?

CM: I make sure I have the time table for the day sorted out

beforehand. I make a detailed list of the time table, I even

include traveling time between the venue and the reception.

It's very important to be on time! Apart from that I take the

day as it comes, I use what I see around me and I always try

and do something different.

PC: How much time do you spend editing your images after

a wedding? Do you draw a fine line on what is allowed in

photo editing or do you believe that pixels are free for your

creative expression in and out of the camera?

CM: I spend a maximum of 2/3 days on a wedding. I have

done it in a day, but that's if I'm very pushed for time. I do

however have a longer waiting period for my clients, since

editing is not the only activity I need to do. I don't use

Photoshop, 99% of the time I use only Adobe Lightroom. I

do very basic editing, such as white balance correction,

brightness and contrast etc. Here and there I will do a few

extra things, but mostly I try and get the shot as correct as

possible when I shoot. I don't have a problem with over

exaggerated Photoshop, but I don't think it suits my style. I

have a very simplistic style.

PC: What is your favourite image and why?

CM: There is one image that I took about 2 years ago in

Robertson. I asked the bride to twirl around in front of wine

bottles outside a cellar. It was the first wedding where I had

my 50mm f1.4. I shot the photo on f2 (I think) and since

then it has become my favourite lens! I love a strong depth

of field and this has become one of the "signature" things

about my shots.

PC: Do you enjoy photographing other subjects or genres?

CM: Yes I do. I love photographing detail such as decor and

food. I recently did a shoot in Botswana for a lodge and I

really enjoyed it! I need variety to keep me creative.

PC: You have a strong social networking and online

presence. How important has this been to your business?

CM: Very! I believe in word of mouth advertising. If you

give someone something to talk about, you have created a

consumer evangelist for your business. I also believe in

building strong relationships and an online presence gives

you the opportunity to do this on a totally different level.

The internet also gives me the opportunity to share my work

internationally.

PC: I've seen that you have begun using the video function

on your Canon EOS 5D MkII, is this a function that you see

more demand for in your work?

CM: I did one video while shooting an engagement shoot. I

loved the results and I would love to pursue this later on, but

it's a totally different ball game and I think I need a bit more

practice before I use it professionally.

client to create natural moments that can be captured. They

are real moments, but most of the time I directed them.

I see things differently than the client sees them, so it's

important to remove the chair in the back or to ask the bride

to place her hand on his shoulder etc.

PC: What is your greatest asset on the big day?

CM: I do whatever I can to make my clients feel like movie

stars on the day.

PC: What are your terms and what key points do you discuss

in your first meeting with clients?

CM: I have a very strong policy that I don't reserve dates. I

will only reserve a date on presentation of a 50% deposit.

Most of my clients are international, so we communicate

over email and then I meet them the week before the

wedding, but whether it's an email or a meeting I ask my

client where the wedding is going to take place, what

"theme" or feeling they want to create for their wedding. It's

important to know what look or feel my clients want for

their wedding, in order to create the best outcome.

I also explain to them how I normally work on a wedding

day and then we discuss how many group shots they want

with friends and family. I try and keep this to a small group

of people, because I still need to do the bridal portraits after

that and I don't want the guests to wait too long before the

bride and groom enter the reception. I also then ask my

client if they have any particular shots they want, I don't

want to have any unhappy clients afterwards, so I make sure

I know exactly what they expect.

PC: Can you describe your perfect wedding for us?

CM: Perfect light in every area (getting dressed, ceremony,

couple shoot and the reception), a couple that are highly in

love, beautiful décor and lots of emotion.

PC: How do you prepare to shoot an individual wedding?

CM: I make sure I have the time table for the day sorted out

beforehand. I make a detailed list of the time table, I even

include traveling time between the venue and the reception.

It's very important to be on time! Apart from that I take the

day as it comes, I use what I see around me and I always try

and do something different.

PC: How much time do you spend editing your images after

a wedding? Do you draw a fine line on what is allowed in

photo editing or do you believe that pixels are free for your

creative expression in and out of the camera?

CM: I spend a maximum of 2/3 days on a wedding. I have

done it in a day, but that's if I'm very pushed for time. I do

however have a longer waiting period for my clients, since

editing is not the only activity I need to do. I don't use

Photoshop, 99% of the time I use only Adobe Lightroom. I

do very basic editing, such as white balance correction,

brightness and contrast etc. Here and there I will do a few

extra things, but mostly I try and get the shot as correct as

possible when I shoot. I don't have a problem with over

exaggerated Photoshop, but I don't think it suits my style. I

have a very simplistic style.

PC: What is your favourite image and why?

CM: There is one image that I took about 2 years ago in

Robertson. I asked the bride to twirl around in front of wine

bottles outside a cellar. It was the first wedding where I had

my 50mm f1.4. I shot the photo on f2 (I think) and since

then it has become my favourite lens! I love a strong depth

of field and this has become one of the "signature" things

about my shots.

PC: Do you enjoy photographing other subjects or genres?

CM: Yes I do. I love photographing detail such as decor and

food. I recently did a shoot in Botswana for a lodge and I

really enjoyed it! I need variety to keep me creative.

PC: You have a strong social networking and online

presence. How important has this been to your business?

CM: Very! I believe in word of mouth advertising. If you

give someone something to talk about, you have created a

consumer evangelist for your business. I also believe in

building strong relationships and an online presence gives

you the opportunity to do this on a totally different level.

The internet also gives me the opportunity to share my work

internationally.

PC: I've seen that you have begun using the video function

on your Canon EOS 5D MkII, is this a function that you see

more demand for in your work?

CM: I did one video while shooting an engagement shoot. I

loved the results and I would love to pursue this later on, but

it's a totally different ball game and I think I need a bit more

practice before I use it professionally.

Taking consistently good photographs is about

eliminating the bad habits that lead to poor shots. The

problem is that most people don't know what

constitutes a bad photography habit, let alone fix one.

On the other hand, once you eliminate some of your

hese 3

more obvious existing bad habits (and all of us have them!),

your photography will naturally improve.

So what are the most obvious bad photography habits?

Here's three of the ones that we think are the more common

problems and could be easily fixed!

1. Not Holding Your Camera Properly

Supporting your camera properly will ensure you don't get the shakes and get unwanted motion in your shots.

Ok, so a lot of us are photographers, but there is really

no need to look like a complete amateur when we pick

up and point our SLR or DSLR to get a shot. Holding

your SLR properly, while not making it totally obvious

that you are not a pro, also has a lot of advantages.

Here’s what you need to know.

For starters, holding a camera at both sides of the body

like the picture below is usually a dead give away that

you don’t know what you are doing.

The problem with this grip is that you haven’t really

got maximum control of the movement of your

equipment and so problems such as blurred photos due

to shaking are going to crop up. The slower your

shutter speed, the more pronounced these negative

effects are going to be.

The WRONG Way The RIGHT Way

Secondly, you don’t have instant access to the

capabilities of your SLR or DSLR because you have to

remove your left hand to use the controls on your lens.

This is not a great state of affairs.

Now, while you will have a hard time eliminating

camera shake altogether with solwer shots while you

are hand-holding your camera, there are a few things

you can do to minimise the problem and most of the

time, it won’t be any problem whatsoever.

The widely-regarded best way to hold your SLR is to

grip the lens with your left hand and use your right

hand for the body controls (which are primarily

positioned on most SLRs to be most accessible using

this grip).

Adapted with permission from www.lightstalking.com

2. Not Getting CloseProbably the most typical problem with amateur shots is that they

don't fill the screen with their subject. Walk up to the subject and

get as close as possible!

3. Not Composing the Shot

A simple technique here is to simply point your camera in slightly

different angles around the subject you want to take in order to see

what looks better. Tilt it up and down, to the left and right.

Remember the rule of thirdsand then take the shot. Easy!

Now, as with any "rule" there are always going to be exceptions

and times when the rule should be broken. Consider them

guidelines rather than set in stone rules.

As always, practice makes perfect so get out there and start

shooting!

The Rule of Thirds is basically a compositional guide that

recommends that any image should be (imaginarily) divided

into nine sections by equally spaced vertical and horizontal

lines (like a tic tac toe grid). Any major elements within the

image should be placed along these lines and preferably at

the points of intersection.

Don't gasp - don't cry if you missed it!

We held our second event on Saturday

12 September 2009, at the Museum of

Military History.

Our special"One-shot"competition was

held - The Museum has plenty of

different items to challenge our creative

minds..... Everyone who attended had

the opportunity to take one shot, and

only one at the event. These were

downloaded, and evaluated for the best

image of the day.

A special two hour course was presented

by Robbie Aspeling, and was a really

worthwhile investment! Processing your

digital images for print and web display.

Those who attended were able to get

their hands on the newly released Sony

Alpha bodies - The A500 and the A850

were there to play with, as well as some

of the more interesting Sony lenses.

We all enjoyed playing with those!

We also arranged for a Sony

technician to be available to do a

minor service on your Sony digital

camera! He cleaned lots of sensors

and check for minor problems before

we got started with the lecture. Thank

you Andrezj for sorting out so many

dirty sensors! We really do appreciate

your coming out and helping us!

Since we were discussing post

processing, the Big Chief arranged a

demo version of Adobe CS4 Design

Premium for everyone who attended.

Whilst this is only the demo on the

disks, it does allow you to try it out

and see what it can do. Those who

wish to purchase the full version can

simply do this from the software,

online with Adobe.

The ONE SHOT Competition got

everyone really thinking. The creative

juices ran wild, and we had some very

interesting interpretations... The

winning entry to this competition was

Gregg Murray. Gregg Murray won

himself the full version of Adobe

Photoshop Elements, which will be

delivered to him in the next couple of

days. Congratulations Gregg!

One Shot Winning Image by: Gregg Murray

AFRIPIXEL NEWS Making photography fun! www.afripixel.com

Taking consistently good photographs is about

eliminating the bad habits that lead to poor shots. The

problem is that most people don't know what

constitutes a bad photography habit, let alone fix one.

On the other hand, once you eliminate some of your

hese 3

more obvious existing bad habits (and all of us have them!),

your photography will naturally improve.

So what are the most obvious bad photography habits?

Here's three of the ones that we think are the more common

problems and could be easily fixed!

1. Not Holding Your Camera Properly

Supporting your camera properly will ensure you don't get the shakes and get unwanted motion in your shots.

Ok, so a lot of us are photographers, but there is really

no need to look like a complete amateur when we pick

up and point our SLR or DSLR to get a shot. Holding

your SLR properly, while not making it totally obvious

that you are not a pro, also has a lot of advantages.

Here’s what you need to know.

For starters, holding a camera at both sides of the body

like the picture below is usually a dead give away that

you don’t know what you are doing.

The problem with this grip is that you haven’t really

got maximum control of the movement of your

equipment and so problems such as blurred photos due

to shaking are going to crop up. The slower your

shutter speed, the more pronounced these negative

effects are going to be.

The WRONG Way The RIGHT Way

Secondly, you don’t have instant access to the

capabilities of your SLR or DSLR because you have to

remove your left hand to use the controls on your lens.

This is not a great state of affairs.

Now, while you will have a hard time eliminating

camera shake altogether with solwer shots while you

are hand-holding your camera, there are a few things

you can do to minimise the problem and most of the

time, it won’t be any problem whatsoever.

The widely-regarded best way to hold your SLR is to

grip the lens with your left hand and use your right

hand for the body controls (which are primarily

positioned on most SLRs to be most accessible using

this grip).

Adapted with permission from www.lightstalking.com

2. Not Getting CloseProbably the most typical problem with amateur shots is that they

don't fill the screen with their subject. Walk up to the subject and

get as close as possible!

3. Not Composing the Shot

A simple technique here is to simply point your camera in slightly

different angles around the subject you want to take in order to see

what looks better. Tilt it up and down, to the left and right.

Remember the rule of thirdsand then take the shot. Easy!

Now, as with any "rule" there are always going to be exceptions

and times when the rule should be broken. Consider them

guidelines rather than set in stone rules.

As always, practice makes perfect so get out there and start

shooting!

The Rule of Thirds is basically a compositional guide that

recommends that any image should be (imaginarily) divided

into nine sections by equally spaced vertical and horizontal

lines (like a tic tac toe grid). Any major elements within the

image should be placed along these lines and preferably at

the points of intersection.

Don't gasp - don't cry if you missed it!

We held our second event on Saturday

12 September 2009, at the Museum of

Military History.

Our special"One-shot"competition was

held - The Museum has plenty of

different items to challenge our creative

minds..... Everyone who attended had

the opportunity to take one shot, and

only one at the event. These were

downloaded, and evaluated for the best

image of the day.

A special two hour course was presented

by Robbie Aspeling, and was a really

worthwhile investment! Processing your

digital images for print and web display.

Those who attended were able to get

their hands on the newly released Sony

Alpha bodies - The A500 and the A850

were there to play with, as well as some

of the more interesting Sony lenses.

We all enjoyed playing with those!

We also arranged for a Sony

technician to be available to do a

minor service on your Sony digital

camera! He cleaned lots of sensors

and check for minor problems before

we got started with the lecture. Thank

you Andrezj for sorting out so many

dirty sensors! We really do appreciate

your coming out and helping us!

Since we were discussing post

processing, the Big Chief arranged a

demo version of Adobe CS4 Design

Premium for everyone who attended.

Whilst this is only the demo on the

disks, it does allow you to try it out

and see what it can do. Those who

wish to purchase the full version can

simply do this from the software,

online with Adobe.

The ONE SHOT Competition got

everyone really thinking. The creative

juices ran wild, and we had some very

interesting interpretations... The

winning entry to this competition was

Gregg Murray. Gregg Murray won

himself the full version of Adobe

Photoshop Elements, which will be

delivered to him in the next couple of

days. Congratulations Gregg!

One Shot Winning Image by: Gregg Murray

AFRIPIXEL NEWS Making photography fun! www.afripixel.com

LAETITIA KENNY

ur readers portfolio this month features Laetitia OKenny. This is what she had to say about herself and

taking photos.

My name is Laetitia Kenny and unlike many photographers

I can’t claim that I received my first Box Brownie from my

granddad when I turned 10. I only started photography in

my thirties and am completely self taught.

When I matriculated I studied teaching, specialising in Fine

Art, and spent too many years teaching Art both at primary

and high school.

LAETITIA KENNYREADER PORTFOLIOREADER PORTFOLIO

I am creative and have pursued a number of artistic hobbies

and interests but photography really does it for me.

I started out doing mainly mono handprints in a chemical

darkroom. My family certainly didn’t complain when I

packed up the darkroom and tried to become computer

literate!! Throwing the mouse at the wall in frustration sure

beats the smell of photographic chemistry.

Although I try to be as versatile as possible I do favour

working with people. I have always enjoyed painting and

once I had discovered the joy of Photoshop I tried to "paint"

with photographs, creating completely original compositions

using my camera rather than my paintbrush. To create these

surrealist type images I photograph all the elements that I

need and then put them together in multi layered

composites.

I was awarded my Associateship in Photography by the

PSSA in January of this year and was awarded a gold medal

at the Trierenberg Super Circuit 2009.

Well done Laetitia, we are very impressed with what you

have accomplished. Keep it up!

We could be featuring your Portfolio here in the next issue,

send your submission to [email protected]

LAETITIA KENNY

ur readers portfolio this month features Laetitia OKenny. This is what she had to say about herself and

taking photos.

My name is Laetitia Kenny and unlike many photographers

I can’t claim that I received my first Box Brownie from my

granddad when I turned 10. I only started photography in

my thirties and am completely self taught.

When I matriculated I studied teaching, specialising in Fine

Art, and spent too many years teaching Art both at primary

and high school.

LAETITIA KENNYREADER PORTFOLIOREADER PORTFOLIO

I am creative and have pursued a number of artistic hobbies

and interests but photography really does it for me.

I started out doing mainly mono handprints in a chemical

darkroom. My family certainly didn’t complain when I

packed up the darkroom and tried to become computer

literate!! Throwing the mouse at the wall in frustration sure

beats the smell of photographic chemistry.

Although I try to be as versatile as possible I do favour

working with people. I have always enjoyed painting and

once I had discovered the joy of Photoshop I tried to "paint"

with photographs, creating completely original compositions

using my camera rather than my paintbrush. To create these

surrealist type images I photograph all the elements that I

need and then put them together in multi layered

composites.

I was awarded my Associateship in Photography by the

PSSA in January of this year and was awarded a gold medal

at the Trierenberg Super Circuit 2009.

Well done Laetitia, we are very impressed with what you

have accomplished. Keep it up!

We could be featuring your Portfolio here in the next issue,

send your submission to [email protected]

SONY ALPHA A550REVIEWSONY ALPHA A550REVIEW

o many of you it may appear that PhotoComment is a Tlargely Sony based if not possibly even biased

publication. Before we kick off this review we need to explain

that we are fortunate to have a good relationship with Sony

South Africa which extends back to the very earliest days of our

existence and hence have enjoyed the privilege of reviewing

new products often within days of their release. This said, we

pride ourselves on an unbiased approach to all our reviews and

welcome such relationships with all brands.

Now with that formality out of the way, let's take a look at what

is arguably the most exciting camera from the Sony stable since

the Alpha A900 took centre stage.

Sony has long been considered an innovator in the electronics

industry and for this reason many were expecting any

announcement of new Alphas to set a benchmark and call the

top two brands out to duel. Those who had expected such a

glorious move were disappointed at the announcement

made on August 27th when Sony unveiled the

A850, A550, A500 mainly due to the lack of video.

This does seem odd from a manufacturer who

produces arguably the best selling video camera

in their Handycam range.

We've been fortunate to play with both the A850

and the A550 and while there aren't any huge

differences between the A850 and the A900, the

more time we spent with the A550 the more we

realised the innovation offered by this new

camera and it's marginally different sibling, the

First thing you notice when you take hold of the

A550 is a unique design that handles a lot better than the

recently reviewed A380. The menu and graphical display of

aperture and shutter in obtaining correct exposure are - if

possible - even more interactive and unlike the A330/380 are

also visible in live view mode. The only draw back I found

in terms of handling is the absence of a control dial on the

back of the camera by your thumb.

Sony's Exmor CMOS sensor with Bionz processor helps to

reduce noise and speed up the new Alphas with the A500

offering 5 fps (frames per second) and the A550 we're

reviewing offers an astounding 7fps in it's Speed Priority

Setting. On the topic of noise levels, despite only being a

pre-production sample, the noise levels seem to have

undergone a strong improvement over the older A700..

There is however one key feature in these two cameras that

bar one other camera on the market (Pentax's K7) makes the

A550 and A500 unique, that is the new Auto HDR (High

Dynamic Range). For those who are not all to familiar with

the term, HDR photography is a techniques where you

would take several pictures of the same subject bracketing

your exposure. Then using a program like PhotoMatics or

even Photoshop in order to combine the images you are able

to have an image capable of giving - depending on the

number of images and range of bracketing - surreal dynamic

range.

What sets the Alpha apart from its competitors here,

according to them, is the fact that their HDR mode does not

require you to have your camera tripod mounted in order to

properly overlap images. In our test this was certainly true

within reason, with rapid moving subjects or even active

three month old baby boys, you will notice a misaligned

double image, other than that it seemed to work fine even

hand held. The question may be asked, does it really make a

difference to dynamic range? Yes it is noticeable though the

in camera processing of the image does not likely render

what a more experienced HDR photographer would like.

So what do we have to say about the A550 and its smaller

A500 sibling in concluding this review?

Time will tell if the exclusion of video from Sony's lineup

will hurt their brand but after using the A550 I'm inclined to

believe that perhaps Sony opted to buck the trend in order to

create a camera that would offer better image quality for

what is at the heart of a DSLR's purpose, creating still

images! Alpha is certainly enjoying great success in a very

short period of time but there has been a sense among many

that the image quality could still be lifted a little further and

with this camera one gets the sense that this is what they've

done. We all know Sony can make great video cameras and

when they add it to the mix I am sure it will be cutting edge

but my primary reason for buying a DSLR is for high

quality stills images and that is where Sony seem to have

placed there focus.

The A500 and A550 offer low noise level, high frame rates,

Auto HDR and Quick AF Live View - still the best Live

View in the market - now with Face Detection and even

their infamous Smile Shutter. Add to this some of the best

lenses on the market and you have a superb camera. Would

we at PhotoComment buy one? I could confidently say yes.

Click For Video Clip

SONY ALPHA A550REVIEWSONY ALPHA A550REVIEW

o many of you it may appear that PhotoComment is a Tlargely Sony based if not possibly even biased

publication. Before we kick off this review we need to explain

that we are fortunate to have a good relationship with Sony

South Africa which extends back to the very earliest days of our

existence and hence have enjoyed the privilege of reviewing

new products often within days of their release. This said, we

pride ourselves on an unbiased approach to all our reviews and

welcome such relationships with all brands.

Now with that formality out of the way, let's take a look at what

is arguably the most exciting camera from the Sony stable since

the Alpha A900 took centre stage.

Sony has long been considered an innovator in the electronics

industry and for this reason many were expecting any

announcement of new Alphas to set a benchmark and call the

top two brands out to duel. Those who had expected such a

glorious move were disappointed at the announcement

made on August 27th when Sony unveiled the

A850, A550, A500 mainly due to the lack of video.

This does seem odd from a manufacturer who

produces arguably the best selling video camera

in their Handycam range.

We've been fortunate to play with both the A850

and the A550 and while there aren't any huge

differences between the A850 and the A900, the

more time we spent with the A550 the more we

realised the innovation offered by this new

camera and it's marginally different sibling, the

First thing you notice when you take hold of the

A550 is a unique design that handles a lot better than the

recently reviewed A380. The menu and graphical display of

aperture and shutter in obtaining correct exposure are - if

possible - even more interactive and unlike the A330/380 are

also visible in live view mode. The only draw back I found

in terms of handling is the absence of a control dial on the

back of the camera by your thumb.

Sony's Exmor CMOS sensor with Bionz processor helps to

reduce noise and speed up the new Alphas with the A500

offering 5 fps (frames per second) and the A550 we're

reviewing offers an astounding 7fps in it's Speed Priority

Setting. On the topic of noise levels, despite only being a

pre-production sample, the noise levels seem to have

undergone a strong improvement over the older A700..

There is however one key feature in these two cameras that

bar one other camera on the market (Pentax's K7) makes the

A550 and A500 unique, that is the new Auto HDR (High

Dynamic Range). For those who are not all to familiar with

the term, HDR photography is a techniques where you

would take several pictures of the same subject bracketing

your exposure. Then using a program like PhotoMatics or

even Photoshop in order to combine the images you are able

to have an image capable of giving - depending on the

number of images and range of bracketing - surreal dynamic

range.

What sets the Alpha apart from its competitors here,

according to them, is the fact that their HDR mode does not

require you to have your camera tripod mounted in order to

properly overlap images. In our test this was certainly true

within reason, with rapid moving subjects or even active

three month old baby boys, you will notice a misaligned

double image, other than that it seemed to work fine even

hand held. The question may be asked, does it really make a

difference to dynamic range? Yes it is noticeable though the

in camera processing of the image does not likely render

what a more experienced HDR photographer would like.

So what do we have to say about the A550 and its smaller

A500 sibling in concluding this review?

Time will tell if the exclusion of video from Sony's lineup

will hurt their brand but after using the A550 I'm inclined to

believe that perhaps Sony opted to buck the trend in order to

create a camera that would offer better image quality for

what is at the heart of a DSLR's purpose, creating still

images! Alpha is certainly enjoying great success in a very

short period of time but there has been a sense among many

that the image quality could still be lifted a little further and

with this camera one gets the sense that this is what they've

done. We all know Sony can make great video cameras and

when they add it to the mix I am sure it will be cutting edge

but my primary reason for buying a DSLR is for high

quality stills images and that is where Sony seem to have

placed there focus.

The A500 and A550 offer low noise level, high frame rates,

Auto HDR and Quick AF Live View - still the best Live

View in the market - now with Face Detection and even

their infamous Smile Shutter. Add to this some of the best

lenses on the market and you have a superb camera. Would

we at PhotoComment buy one? I could confidently say yes.

Click For Video Clip

he continued onslaught of 'amatuer' photographers T'stealing' business from professionals has been a topic

of debate - in just about any industry - for decades. It is a

topic I regularly engage myself in and from different view

points to gauge reactions and emotions.

Many professionals complain bitterly about the difficult

market they find themselves in where it seems almost every

Tom, Dick and Harry wants to rush out and buy an entry

level DSLR, put it on auto and overnight become a weekend

wedding photographer warrior. You will hear complaints of

'poor quality of work' and 'prices that undercut the market

drastically'. One can understand the frustration and to a

degree fear of professionals who have spent their life

developing the skills in order to provide for themselves and

their families.

As a teenager keen on entering the photographic industry I

can recall talking to several professional photographers

about the possibilty of assisting and learning the ropes. In

most cases I found the reponse in the form of a lofty or high

and almighty 'NO'. One got the sense that they did not

welcome the slightest hint of fresh blood in the market.

Due to the fact that I was virtually un-aided in my effort to

enter the market I did my first job at a rediculously low rate

- particularly considering we were still shooting on film -

and became guilty of the crime so many professionals are

screaming about. It was not until I attended a course on

wedding photography by some of the industry stalwarts of

the day that I realised how much worked was envolved and

what I should have been charging for such an event.

So what is my point? Had a professional offered a hand

when I was willing to ask I would have saved the

embarrasment and losses I sustained so early on. It is very

difficult to double your price when you have already begun

to work in the market. Perhaps it is just my experience but I

get the feeling that many professionals cry till they are blue

in the face but are not willing to do much to change it. While

experience does count in this industry, digital without

coaching will be the demise of the professional where

requiring a pro is not the difference between life and death.

You cannot argue that you could not take just any body off

the street to build your house or perform your heart

transplant when you have an industry that does not require

regulation. Perhaps here is the question to ask for your

feedback on: how can the professional market change to

thrive and not just survive?

- What would you like to see in the next issue? Let us know [email protected]

- You could be featured next month submit comments, images or portfolio to [email protected]

- We will have our usual mix of informative articles and more portfolios to inspire us to take better photos.

Readers Portfolio

This is your chance to get your images published.

For each issue we (the editors assisted by a panel of

industry leading photographers) will choose a

reader's portfolio that inspires and celebrates the art

and craft of photography best for that month.

You stand a chance to win a prize from SONY, one

of our advertisers, should your portfolio be

published. Include a self-portrait accompanied with a

brief introduction of yourself, your style and your

philosophy.

Send us no more than 10 of your best images with

your contact details to [email protected]

enter “Readers Portfolio” as the subject. Make sure

the images are in JPEG format and no larger than

640x480 (or closest too), we will contact you for

larger files if needed. Needless to say that the

standard will be high and uncompromising so please

put your best foot forward.

1 x Laptop Sleeve

1 x SONY ALPHA Lens Book

1 x Memory Card Pouch

1 x Rain umbrella

All branded SONY ALPHA

Keith G

roenew

he continued onslaught of 'amatuer' photographers T'stealing' business from professionals has been a topic

of debate - in just about any industry - for decades. It is a

topic I regularly engage myself in and from different view

points to gauge reactions and emotions.

Many professionals complain bitterly about the difficult

market they find themselves in where it seems almost every

Tom, Dick and Harry wants to rush out and buy an entry

level DSLR, put it on auto and overnight become a weekend

wedding photographer warrior. You will hear complaints of

'poor quality of work' and 'prices that undercut the market

drastically'. One can understand the frustration and to a

degree fear of professionals who have spent their life

developing the skills in order to provide for themselves and

their families.

As a teenager keen on entering the photographic industry I

can recall talking to several professional photographers

about the possibilty of assisting and learning the ropes. In

most cases I found the reponse in the form of a lofty or high

and almighty 'NO'. One got the sense that they did not

welcome the slightest hint of fresh blood in the market.

Due to the fact that I was virtually un-aided in my effort to

enter the market I did my first job at a rediculously low rate

- particularly considering we were still shooting on film -

and became guilty of the crime so many professionals are

screaming about. It was not until I attended a course on

wedding photography by some of the industry stalwarts of

the day that I realised how much worked was envolved and

what I should have been charging for such an event.

So what is my point? Had a professional offered a hand

when I was willing to ask I would have saved the

embarrasment and losses I sustained so early on. It is very

difficult to double your price when you have already begun

to work in the market. Perhaps it is just my experience but I

get the feeling that many professionals cry till they are blue

in the face but are not willing to do much to change it. While

experience does count in this industry, digital without

coaching will be the demise of the professional where

requiring a pro is not the difference between life and death.

You cannot argue that you could not take just any body off

the street to build your house or perform your heart

transplant when you have an industry that does not require

regulation. Perhaps here is the question to ask for your

feedback on: how can the professional market change to

thrive and not just survive?

- What would you like to see in the next issue? Let us know [email protected]

- You could be featured next month submit comments, images or portfolio to [email protected]

- We will have our usual mix of informative articles and more portfolios to inspire us to take better photos.

Readers Portfolio

This is your chance to get your images published.

For each issue we (the editors assisted by a panel of

industry leading photographers) will choose a

reader's portfolio that inspires and celebrates the art

and craft of photography best for that month.

You stand a chance to win a prize from SONY, one

of our advertisers, should your portfolio be

published. Include a self-portrait accompanied with a

brief introduction of yourself, your style and your

philosophy.

Send us no more than 10 of your best images with

your contact details to [email protected]

enter “Readers Portfolio” as the subject. Make sure

the images are in JPEG format and no larger than

640x480 (or closest too), we will contact you for

larger files if needed. Needless to say that the

standard will be high and uncompromising so please

put your best foot forward.

1 x Laptop Sleeve

1 x SONY ALPHA Lens Book

1 x Memory Card Pouch

1 x Rain umbrella

All branded SONY ALPHA

Keith G

roenew

Image by: Laetitia Kenny

photocomment september 2009

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