Nikon AF-S DX Nikkor 18-300mm f/3.5-5.6G ED VR

The AF-S Nikkor 18-300mm F3.5-5.6G ED VR was announced in June 2012, and holds the distinction of being the longest-range superzoom available for any interchangeable-lens camera system. Its 16.7x, 27-450mm equivalent zoom range trumps Tamron's 18-270mm F/3.5-6.3 Di II VC PZD not only for focal length but also aperture at full telephoto. This comes at a price, though; the 18-300mm is comfortably the largest, heaviest and most expensive DX/APS-C format superzoom around.

To be fair, you do get a top-specified lens for your money. It incorporates Nikon's 'Silent Wave Motor' for focusing, and is one of the few superzooms that allows focus to be tweaked manually when set to autofocus (like its little brother, the AF-S DX Nikkor 18-200mm f/3.5-5.6G ED VR II). It also includes Nikon's 'VR II' optical image stabilization, which promises the ability to shoot handheld at shutter speeds four stops slower than usual without your images being ruined by camera shake.

This all requires an unusually complex optical design, and the 18-300mm uses no fewer than 19 lens elements in its construction, arranged in 14 groups. Three of these use Extra-low Dispersion (ED) glass, and three incorporate aspherical surfaces to minimise aberrations. Nikon's 'Super Integrated Coating' (SIC) is employed to minimize flare, and the aperture uses nine rounded blades for pleasant rendition of blurred backgrounds.

Superzooms lenses inevitably trade versatility and portability against significant optical compromises compared to shorter-range zooms. So the question we're looking to answer in this review is what the 18-300mm offers to justify its bulk and price premium compared to its two most-obvious competitors - the aforementioned Tamron 18-270mm F/3.5-6.3 Di II VC PZD and the recently announced Sigma 18-250mm F3.5-6.3 DC Macro OS HSM.

Headline features

• Approx: 28-450mm equivalent focal length range; F3.5-5.6 maximum aperture
• Works on Nikon DX format DSLRs (and FX format SLRs in DX crop mode)
• In-lens Vibration Reduction system
• Ultrasonic-type 'Silent Wave Motor' for autofocus

Angle of view

The pictures below illustrate the focal length range from wide to telephoto (taken from our usual camera position).

18mm (27mm equivalent)	300mm (450mm equivalent)

Nikon AF-S DX Nikkor 18-300mm f/3.5-5.6G ED VR specifications

Approx Price	• $999 (US)  • £719 (UK)
Date introduced	June 2012
Maximum format size	DX
Focal length	18-300mm
35mm equivalent focal length	27-450mm
Diagonal Angle of view (APS-C)	76º - 5º 20'
Maximum aperture	F3.5-5.6
Minimum aperture	F22-32
Lens Construction	• 19 elements / 14 groups  • 3 ED glass elements  • 3 aspherical elements
Number of diaphragm blades	9, rounded
Minimum focus	0.45m
Maximum magnification	0.32x
AF motor type	• Silent Wave Motor (Ring-type ultrasonic)  • Full-time manual focus (M/A mode)
Focus method	Internal
Zoom method	Rotary, extending barrel
Image stabilization	• Yes; 4 stops claimed benefit  • 'Active' mode
Filter thread	• 77mm  • Does not rotate on focus
Supplied accessories*	• Front and rear caps  • HB-58 Petal-type Hood
Weight	830 g (29.3 oz)
Dimensions	83 mm diameter x 120 mm length  (3.3 x 4.7 in)
Lens Mount	Nikon F

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Nikon D5200

Preview based on a pre-production Nikon D5200 with firmware C 0.37

When Nikon announced the entry-level 24MP D3200 back in April 2012, it seemed only a matter of time before the rest of its DX SLRs were upgraded to the same resolution. In reality it's taken rather longer than we expected, but finally the 24MP D5200 has appeared to replace the D5100 - just in time for the holiday season. As the next model up in the line from the D3200 (according to Nikon it's for 'Advanced Beginners'), it offers more physical controls and enthusiast-friendly features in a similarly-small package.

The D5200 is physically almost identical to its predecessor, and almost all of the changes are internal, including key systems borrowed from the enthusiast-oriented D7000. These include the 39-point AF system (with 9 cross-type sensors) that covers most of the frame, and the 2016 pixel RGB colour-sensitive metering sensor. Indeed about the only external differences between the cameras are a new top-plate drive mode button on the D5200, along with a stereo microphone that's perched atop the pentamirror in front of the hotshoe, rather like Canon's EOS 650D.

It would be tempting to assume that the D5200's 24MP CMOS sensor is the same as the D3200's, but Nikon very specifically says this isn't the case, and the two have slightly different specifications. In practical terms, the D5200 offers a higher extended ISO range compared to it's little brother - 25600 vs 12800 - and faster continuous shooting (5 fps vs 4). For video shooters the D5200 can record Full HD 1920 x 1080 movies at up to 60i or 50i (when set to NTSC and PAL respectively), although this uses a central crop of the sensor area (~1.25x). More conventional 30p, 25p and 24p modes use the full width of the sensor.

The D5200's new sensor is complemented by EXPEED 3 image processing, which Nikon claims offers higher speed, better colour reproduction and improved noise reduction. The D5200 also has an updated, cleaner design to the on-screen user interface that presents more information in a more-logical layout. This is welcome on this type of small camera with relatively few external controls, on which much of the user interaction is via the rear screen (and lots of button pressing).

The D5200 also supports Nikon's WU-1a Wi-Fi unit, which plugs into the camera's accessory terminal and allows images to be transmitted wirelessly to a smartphone or tablet for uploading to social media. The device can also be used as a remote control for the camera, complete with Live View, which is potentially a neat way of setting up self-portraits or group shots.

Nikon D5200 key features

• 24.1MP DX format CMOS sensor
• EXPEED 3 processing
• ISO 100-6400 standard, up to 25600 expanded
• 5 fps continuous shooting
• 39 point AF system, 9 sensors cross type
• 2016 pixel RGB metering sensor
• 1080p30 video recording, built-in stereo mic
• 921k dot 3" vari-angle TFT monitor, 170° viewing angle

Further updates and improvements

The D5200 has a couple of additional tweaks and updates over the D5100 which are less obvious from the spec sheet alone. These include the same improved Auto ISO program that we first saw on the D800, which adds the ability to set the minimum shutter speed automatically based on the focal length of the lens in use, with a choice of five settings that bias towards faster or slower speeds. This fixes one of our biggest criticisms of the D5100, and makes Auto ISO more suitable for use with zoom lenses.

There's also a bit more control available in movie mode. You have the option of taking full control over all exposure values - aperture, shutter speed and ISO - in M mode, or letting the camera set the latter two for you. The D5200 also offers finer setting of the microphone gain (now in 20 steps), with a stereo sound meter to help you judge the right level.

Aside from this, the D5200 is essentially the same as its predecessor. There's the same smattering of features you wouldn't necessarily expect to see at this level - including a multiple exposure mode and a highly configurable intervalometer - evened out by the omission of some others (there's no depth of field preview or wireless flash control). Overall though we think it looks like a sensible evolution of its predecessor.

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Nikon D600

Review based on a production Nikon D600 with firmware v1.0

Nikon officially announced the long-rumored and much-leaked D600 a week before the Photokina trade show in September. The D600 is a full-frame DSLR aimed at enthusiasts, with a price to match. At a body only price of $2099/£1955, the 24MP D600 is significantly cheaper than its big brother the D800, and on a par with Canon's recently announced 21MP full-frame EOS 6D.

The D600 - which offers similar build quality and operational ergonomics as the popular DX-format D7000 - is a significant camera, even with the Canon EOS 6D arriving hot on its heels. The D600 matches or exceeds the pixel count of every other full-frame DSLR bar one (the D800) at a pricepoint which puts it within the reach of many enthusiasts. For those of us who've been covering the industry for a while, it's sobering to remember that the first full-frame DSLR, the Canon EOS 1Ds, was announced almost a decade ago. It doesn't seem like so long ago that full-frame was the holy grail of consumer digital imaging, promising liberation from crop factors once and for all, and a return to a simpler time where a 24mm lens actually was a 24mm.

A lot has changed since the 1Ds went on sale though (at an eye-watering $7999) and these days, if you want a full-frame camera, you don't have to remortgage your home. Cameras like Sony's Alpha 850, Nikon's D700 and Canon's EOS 5D brought full-frame sensors within reach of enthusiasts, and the more recent D800, Canon's EOS 5D Mark III and EOS 6D have continued that trend, offering more and more advanced specifications at prices much lower than top-flight equipment like the Nikon D3X and Canon's flagship, the EOS-1D X, the former of which, at least, is looking increasingly anachronistic. It's interesting to note, too, that with the D600, Nikon significantly undercuts the price of Sony's recent full-frame offerings - the SLT-A99 and Cyber-shot RX1.

Nikon D600: Key Specifications

• 24.3MP Full-frame CMOS sensor (10.5MP DX-format crop mode)
• ISO 100-6400 (expandable to ISO 50-25,600 equivalent)
• Maximum 5.5fps continuous shooting
• 39-point AF system with 9 cross-type AF points
• 3.2in 921k-dot LCD screen
• 1080p30 full HD video
• Headphone jack for audio monitoring in movie mode
• Uncompressed video recording via HDMI
• Single-axis electronic level in viewfinder, duel-axis (pitch and roll) in live view
• Dimensions: 141mm x 113mm x 82mm (5.5 × 4.4 × 3.2 in).
• Weight: 760 g (1.6 lbs) (camera body only, no battery)

Affordable full-frame

At its list price at launch of $2099 the D600 is one of the most affordable full-frame cameras yet, and although Nikon insists that there are still good reasons to buy the D300S, it seems very likely that the D600 will finally supplant the older DX-format model as the 'upgrade of choice' for users of the D3200,D5100 and D7000. But despite its relatively low cost the D600 is very far from a 'no frills' model. Features like 5.5fps shooting at full-resolution, 100% viewfinder coverage, full HD video capture with an option to record uncompressed footage via HDMI and a customizeable 39-point AF system would be pretty impressive in a camera costing much more.

Ergonomically, the D600 will feel to some extent familiar to both of these constituencies. The D600's UI is very similar to the DX-format D7000; it even shares the same 39-point AF array. In terms of functionality though, the D600 also has a lot in common with its big brother the D800, particularly when it comes to video specification. Something that came as a surprise on the D600 was the ability to shoot uncompressed video footage via HDMI output. On paper, this, plus a mic socket for an external microphone and a headphone jack should make the D600 very appealing to videographers. The only real difference in specification between the implementation of the D600's video mode compared to the D800 is that you can't adjust aperture during movie recording on the new model (unless you use an older manual focus lens with a mechanical aperture ring).

D600 versus D7000: Specification highlights

• 24.3MP Full-frame CMOS sensor (compared to 16.2MP DX-format CMOS)
• Maximum 5.5fps continuous shooting (compared to 6fps)
• 3.2in 921k-dot LCD screen (compared to 3in)
• D800-style combined movie/still live view mode button
• Headphone jack for audio monitoring in movie mode
• Uncompressed video recording via HDMI

D600 versus D800: Specification highlights

• 24.3MP Full-frame CMOS sensor (compared to 36.3MP CMOS)
• 10.5MP DX-format crop mode (compared to 15.3MP)
• 39-point AF system with 9 cross-type AF points (compared to 51-points, with 15 cross-type)
• Autofocus sensitivity down to -1EV (compared to -2EV)
• Maximum 5.5fps continuous shooting in FX mode (compared to 4fps in FX mode)
• 2,016-pixel RGB TTL exposure metering sensor (compared to 91,000 pixels)
• 2x SD slots (compared to CF+SD)
• No 'Power Aperture' aperture control during movie shooting (offered by D800 using Fn + Preview buttons)
• Shutter rated to 150,000 cycles (compared to 200,000 cycles)
• Magnesium-alloy top and rear covers only (D800 has full mag-alloy chassis except flash housing)
• USB 2.0 interface (compared to USB 3.0)

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Kawasaki Z800 CKD

Make Model	Kawasaki Z 800
Year	2013
Engine	Liquid cooled, four stroke, transverse four cylinder, DOHC, 4 valve per cylinder
Capacity	806
Bore x Stroke	71 x 50.9 mm
Compression Ratio	11.9:1
Induction	Fuel injection: ?34 mm x 4 (Mikuni), with dual throttle valves
Ignition  /  Starting	Digital  /  electric
Lubrication	Forced lubrication, wet sump
Clutch	Wet multi-disc, manual
Max Power	83.0 kW 113 hp @ 10200 rpm
Max Torque	83.0 Nm 8.5 kg-fm @ 8000 rpm
Transmission  /  Drive	6 Speed  /  chain
Gear Ratio	1st 2.571 (36/14) 2nd 1.941 (33/17) 3rd 1.556 (28/18)  4th 1.333 (28/21) 5th 1.200 (24/20) 6th 1.095 (23/21)
Primary reduction ratio	1.714 (84/49)
Final reduction ratio	3.000 (45/15)
Frame	Tubular backbone (with engine sub-frame), high-tensile steel
Front Suspension	41 mm inverted fork with rebound damping and spring preload adjustability, 120mm wheel travel.
Rear Suspension	Bottom-Link Uni-Trak, gas-charged shock with piggyback reservoir and stepless rebound damping and preload adjustability, 137mm wheel travel.
Steering angle, left / right	31o / 31o
Front Brakes	2x semi-floating 310 mm discs 4 piston calipers
Rear Brakes	Single 220mm disc 1 piston caliper
Front Tyre	120/70 ZR17
Rear Tyre	180/55ZR17
Dimensions (L x W x H)	2,100 mm x 800 mm x 1,050 mm
Wheelbase	1445 mm
Seat height	834 mm
Wet-Weight	229 kg
Fuel Capacity	17 Litres

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Kawasaki Z750

Motorsikal Berkuasa Tinggi Indaman Kami Berdua

General information
Model:	Kawasaki Z750
Year:	2009
Category:	Sport
Rating:	75.2 out of 100. Show full rating and compare with other bikes
Engine and transmission
Displacement:	748.00 ccm (45.64 cubic inches)
Engine type:	In-line four, four-stroke
Power:	104.19 HP (76.1 kW)) @ 10500 RPM
Torque:	78.00 Nm (8.0 kgf-m or 57.5 ft.lbs) @ 8300 RPM
Compression:	11.3:1
Bore x stroke:	68.4 x 50.9 mm (2.7 x 2.0 inches)
Fuel system:	Injection. 32 mm x 4 (Keihin)
Cooling system:	Liquid
Gearbox:	6-speed
Transmission type, final drive:	Chain
Chassis, suspension, brakes and wheels
Front suspension:	41 mm inverted fork
Rear suspension:	Gas charged shock
Front tyre dimensions:	120/70-ZR17
Rear tyre dimensions:	180/55-ZR17
Front brakes:	Double disc
Front brakes diameter:	300 mm (11.8 inches)
Rear brakes:	Single disc
Rear brakes diameter:	250 mm (9.8 inches)
Physical measures and capacities
Weight incl. oil, gas, etc:	226.0 kg (498.2 pounds)
Seat height:	815 mm (32.1 inches) If adjustable, lowest setting.
Ground clearance:	155 mm (6.1 inches)
Wheelbase:	1,440 mm (56.7 inches)
Fuel capacity:	18.50 litres (4.89 gallons)
Other specifications
Starter:	Electric
Comments:	Optional ABS brakes
Further information
Parts and accessories	Our partner CMSNL ships low cost OEM motorcycle parts to Australia, Austria, Bahamas, Belgium, Canada, China, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hong Kong, Hungary, Iceland, India, Ireland, Italy, Japan, Kuwait, Latvia, Lithuania, Luxembourg, Macedonia, Malta, Montenegro, The Netherlands, New Zealand, Norway, Poland, Portugal, Serbia, Slovakia, Slovenia, South Africa, Spain, Sweden, Switzerland, Taiwan, Ukraine, United Kingdom, The United States and more. Or check out parts and accessories from our other partners.
Ask questions	Join the 09 Kawasaki Z750 discussion group.
Insurance, loans, tests	Check out insurance here. Search the web for dealers, loan costs, tests, customizing, etc.
Related bikes	List related bikes for comparison of specs

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Penanaman padi di Kedah

Pembangunan Kedah Darulaman sebagai sebuah Negeri Melayu di utara Semenanjung berlaku dengan pesat apabila asas ekonominya bertukar corak dari apa yang bertunjangkan perdagangan kepada berlandaskan pertanian, khususnya pertanian padi. Pertukaran ini diikuti dengan pemindahan pusat pemerintahan dari Daerah Muda-Merbuk ke Alor Star di dalam zaman pemerintahan Sultan Mohammad Jiwa Zainal Abidin (1710-1778). Tiga bentuk perkembangan ekonomi dan politik berlaku.

Perkembangan pertama ialah pembukaan tanah-tanah paya untuk dijadikan tanah-tanah sawah yang subur di dataran Kedah yang merintangi Kangar di utara dan Guar Chempedak di selatan, seluas lebih kurang 500 batu persegi atau 300,000 ekar. Pembukaan dataran Kedah ini menarik masuk tenaga-tenaga buruh yang banyak dari alam Melayu sekeliling, khususnya dari apa yang dipanggil Selatan Thailand sekarang ini, Sumatra Jawa, Kalimantan, Kelantan, Terengganu dan Perak. Kemasukan penduduk ini merupakan suatu faktor yang penting di dalam pertumbuhan ekonomi Kedah seterusnya. Di masa inilah iaitu di masa kadar peningkatan penduduk berlaku dengan pesatnya di samping berlakunya pembukaan tanah secara meluas, kekayaan negeri dan rakyat memuncak.

Ekoran dari perkembangan di atas, sempadan negeri yang berkesan (functional boundaries) mula meluas ke daerah-daerah pendalaman yang dahulunya hanya merupakan bahagian-bahagian pinggir di dalam sistem pentadbiran Kedah. Kawasan-kawasan pinggir ini mula diberi perhatian sewajarnya oleh Sultan lebih dari sebelumnya di mana penduduk-penduduknya tertakluk kepada tindak-tanduk orang-orang besar jajahan semata-mata.

Hasilnya ialah suatu pertumbuhan dan pembangunan sistem pentadbiran Negeri Kedah yang sophisticated dan matang untuk mengendalikan corak-corak ekonomi dan politik yang baharu misalannya sistem pemaritan yang besar yang dibina oleh Wan Mat Saman (1885), Tunku Yaakob (1890) dan Wan Yahya (1895) dengan jaringan-jaringan tali air dan jalan-jalannya yang banyak di samping menambahkan hasil pengeluaran, ianya juga merupakan suatu alat pentadbiran yang baharu dan berkesan sekali. Jaringan-jaringan taliair dan jalan-jalan baharu yang dibina seiring dengan taliair-taliair ini dapat digunakan untuk perhubungan pentadbiran dan juga pengawalan cukai ke atas barang-barang pengeluaran rakyat. Di masa pembukaan tanah inilah penggunaan undang-undang tanah Kedah yang dicipta pada tahun 1667 bernama Undang-undang Dato' Seri Paduka Tuan, berlaku seluas-luasnya.

Ketiga-tiga perkembangan di atas menjadikan Kedah Darulaman suatu negeri yang utuh dari segi penyatuan penduduk dan pemerintah, dari segi pengeluaran hasil, khususnya padi dan beras, dan dari segi penyertaan rakyat tani di dalam proses-proses politik negara. Keutuhan ini mula bergoncang apabila pembangunan ekonomi yang pesat mengakibatkan kemunculan golongan-golongan lain seperti golongan saudagar dan pegawai-pegawai kerajaan yang menjadi golongan-golongan perantaraan di antara Sultan dan rakyat. Kertas kerja ini adalah bertujuan menganalisakan proses penyatuan pemisahan-penyatuan di dalam sejarah Negeri Kedah. Proses dialectic yang dialami oleh masyarakat tani ini mengumbang-ambingkan nasib mereka di masa negara membangun ini, proses ini difahami agar tidak menjadi pandangan salah terhadap usaha-usaha kerajaan mencurahkan pelaburan pembangunan ke dalam masyarakat ini.

Rujukan http://www.mykedah2.com/10heritage/108_1.html

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Sambungan Ombak Rindu

Cinta Tiada Akhirnya

Kehidupan menjanjikan segalanya. Pahit, manis, suka dan duka. Satu perjalanan anugerah dari Maha Pencipta yang menjanjikan kematian dalam kembara kehidupan. Bagi kaki yang melangkah dan tangan yang menadah, terpulang pada insan itu sendiri mencorak hidupnya.

Inilah kisah...Cinta...Tiada Akhirnya, menyelami Izzah yang setia, hampir sempurna, menyajikan cinta pada suaminya, Hariz yang measih mencari diri dan cinta sejati.

Disulami detik cemas yang pasti mengocak minda, mendebarkan jiwa, Cinta...Tiada Akhirnya akan menyerapi kehidupan setiap pembaca...


Tak Henti Hati Ini Menyebut Namamu, Tak Henti Jua Degupan Rindu Memalu Jantungku...




Rindu Cintaku

Izzah tercari-cari ketika dirinya hilang ingatan. Mimpi-mimpi ngeri tentang suaminya berkunjung datang dalam kotak minda menambah kekeliruan, menjadikan dia kedinginan dalam cinta Hariz yang sentiasa membara. Izzah pulih saat konflik memuncak dan dia tak berdaya untuk menggalas beban yang membelenggu hati bila cinta suami ditagih insan lain walau maruah menjadi taruhan.

Hariz yang keresahan terus dilanda tsunami permasalahan. Neraca karma beralun ganas melibas keegoanya. Hariz hilang punca, hilang kuasa dan hilang Izzah. Namun, membuang cintanya pada isteri tercinta tidak pernah wujud dihatinya walau dalam keterpaksaan.

Andainya mampu ditebus kesilapan, apakah harga yang perlu dilunaskan? Rumahtangga? Cinta tak kesampaian? Kesetiaan? Maruah? atau ...

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Zoo Melaka

Pada Disember lepas,saya bersama keluarga pergi bercuti ke Melaka.Semasa bercuti sempat mengambil gambar hidupan di Zoo Melaka.Disini saya kongsikan bersama.

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Apa itu Bokeh dan DoF

Apa itu Bokeh dan DoF ni?? satu persoalan yang cuba saya rungkaikan dengan perkataan yang mudah untuk difahami…..
Depth of Field (DoF) dari definasinya merujuk kepada kawasan yang dalam fokus bagi sebuah imej/gambar. Kebiasaanya kita selalu melihat gambar yang pada subjeknya jelas (in-focus) dan latar belakangnya adalah kabur (out focus). Kawasan antara imej yang jelas dan yang kabur itu dinamakan Depth of Field (DoF)…..
DoF ni ada 2 jenis plak, dimana EDOF dan LDOF.
EDOF-Extended Depth of Field dimana foreground dan background sama jelas (in-focus) kedua-duanya.
LDOF-Limited Depth of Field dimana foreground jelas tetapi background kabur….
Bokeh plak… Bokeh ini asalnye dari perkataan Jepun yang membawa maksud kabur. Dari segi definasi plak, Bokeh merujuk kepada penampilan cahaya pada kawasan kabur pada satu-satu imej/gambar.
Disini ramai yang keliru antara DoF dan Bokeh dari segi definasinya… tetapi Bokeh dan DoF ini memainkan peranan yang sangat penting dalam fotografi.

Adakah Bokeh dan DoF tu benda yang sama????

TIDAK, bokeh dan DoF tu sebenarnya bukan benda yang sama, walaupon kedua-duanya bergandingan antara satu sama lain dalam satu gambar.

Dari segi definasi, DoF merujuk kepada kawasan antara imej yang jelas dan yang kabur. Dengan perkataan yang senang nak faham, ia merujuk kepada perbezaan antara background dan foreground.

Dimana, bokeh pula merujuk kepada bagaimana lens mengolah (rendering) cahaya background (yang kabur tu) dimana kita dapati bokeh dalam pelbagai bentuk seperti bulat, hexagon, octagon, bujur telur, lemak berkrim dan sebagainya.

Bentuk olahan bokeh tu bergantung kepada lens. Memang tidak dinafikan lens yang mahal dengan aperture value yang rendah spt F1.2, F1.4, F2.8 akan menghasilkan bentuk bokeh yang menarik.

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Apa beza RAW ngan JPEG?

Fail RAW adalah:

• Biasanya format yang khusus untuk sesuatu jenis kamera (kecuali Adobe DNG, yang tidak popular)
• Data lengkap dari sensor kamera - belum diproses, belum dimampatkan (kamera 8 megapixel menghasilkan fail RAW 8 MB)
• Memerlukan perisian khusus untuk membacanya
• Sekurang2nya 8 bit setiap warna - merah, hijau dan biru (24 bit setiap pixel). Kebanyakan DSLR merakamkan 12 atau 14 bit (36 atau 42 bit setiap pixel)
• Julat dinamik (dynamic range) lebih tinggi - boleh memaparkan highlight (bahagian terang) atau shadow (bahagian gelap)
• Kurang konstras
• Tidak tajam
• Tidak sesuai untuk dicetak terus dari kamera
• Baca-sahaja (semua perubahan disimpan di fail XMP sidecar atau JPEG atau format lain)
• Kadangkala boleh diterima di mahkamah (berbanding format yang boleh diubah)
• Menunggu untuk diproses oleh komputer

Sebaliknya fail JPEG adalah:

• Format standard yang boleh dibaca oleh sebarang program imej
• Dimampatkan -- dengan membuang komponen2 imej yang tidak kelihatan oleh mata manusia
• Kecil (kamera 8 megapixel menghasilkan fail 1 ke 3 MB)
• Kurang julat dinamik
• Lebih kontras
• Lebih tajam
• Boleh terus dicetak atau dikongsi di Web
• Selalunya tidak perlu diubahsuai
• Boleh diubahsuai tetapi setiap langkah menghilangkan data -- walaupun hanya untuk memutarkannya
• Diproses oleh kamera

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Komposisi dan kaedah sepertiga

Jurufoto dan pelukis menggunakan kaedah sepertiga (rule of thirds) yang sama.Kaedah ini telah diguna pakai sejak beratus tahun dahulu hingga sekarang oleh pelukis.Senifoto menggunakan kaedah pelukis,kerana lukisan wujud lebih awal dari fotografi.

Kaedah sepertiga meletakkan objek/subjek utama disebelah kiri atau kanan pemidang tilik (viewfender) atau sekurang-kurangnya tidak meletakkannya ditengah-tengah pemidang tilik.Kaedah ini menghasilkan gambar yang menarik dan suka dipandang

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Melakar Garis Kaedah Sepertiga

Pelukis dan jurufoto membahagikan pemidang tilik kepada tiga bahagian dan meletakkan objek di garisan yang bertemu supaya menampakkan ada sesuatu yang hendak menceritakan dibahagian depan.

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Mode Rakaman

Mode rakaman merupakan cara pantas bagi jurugambar mendapatkan setting yang sesuai dengan objek yang akan dirakam.Mode ini dapat mengatur kombinasi shutterspeed,aperture,lampu flash, dan ISO.Semuanya disetkan secara automatik oleh kamera.,kecuali mode manual.

Mode Auto

Biasanya digunakan oleh jurugambar baru.Mode ini menyerahkan semua setting kamera kepada kepintaran pemproses dalam kamera.Jurugambar tidak dapat mengubah setting dan hanya menekan butang shutter.

Mode Program (P)

Sama seperti mode auto,mode ini akan menetapkan setting kamera secara automatik.Namun,jurugambar masih dapat mengubah beberapa konfigusi seperti white balance sehingga kepada exposure compensation.

Aperture Priority(A)

Sesuai dengan namanya,mode ini memberi keutamaan kepada aperture.Aperture dapat diubah tetapi shutterspeed dan setting lain disesuaikan secara automatik oleh kamera.

Shutter Piority(S)

Sama seperti aperture priority,mode ini memberikan keutamaan kepada shutterspeed.Anda boleh mengubah shutterspeed tetapi aperture dan konfigusi lain ditetapkan secara automatik oleh kamera.

Manual Mode(M)

Dalam mode ini aperture dan shutterspeed dapat ditetapkan secara manual bagi mendapatkan exposure yang anda mahu.

Flash Off

Merakam dengan mematikan fungsi internal flash,tetapi lampu pembantu autofokus tetap menyala.Selebihnya semua konfigusi kamera ditetapkan secara automatik seperti mode auto.Flash off digunakan bagi merakam dengan cahaya sedia ada

Close-Up atau Mode Macro

Digunakan bagi merakam objek dari jarak dekat.Biasanya aperture kecil dan flash automatik dimatikan.Sebaiknya digabungkan dengan penggunaan lensa makro.

Night Mode

Mengabungkan setting ISO,shutter speed dan aperture bagi merakam dalam ruang dan keadaan gelap.

Lanscape Mode

Sesuai bagi rakaman landskap.Bukaan aperture dikawal sekecil mungkin supaya ketajaman objek seragam.Setting lain akan diseragamkan.


Portrait Mode

Kamera menyesuaikan exposure conpensation (dedahan tambahan)bagi merakam wajah sebagai subjek.Biasanya setting ini digunakan untuk memastikan aperture yang cukup besar.

Sport Mode(Mode Sukan)

Merakam dengan shutterspeed yang tinggi dan fokus yang pantas.Fokus lensa dilakukan secara fokus yang berterusan tanpa bantuan lampu AF.Berfungsi untuk menghentikan pergerakan objek.

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