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The Canon EF-S 10-22mm f/3.5-4.5 USM lens is purely for Canon's crop sensor camera line (as of writing) starting from the EOS 20D/300D to the current EOS 50D/450D. It will not mount on the EOS 1D series (1.3x crop), neither will it mount on any full-frame, 35mm bodies such as the 1Ds, 5D, and film variants.


With a 1.6x crop camera, the EF-S 10-22mm f/3.5-4.5 USM focal length equates to a 16-35mm field-of-view on a full-frame sensor. So you can consider this as the cheaper consumer version of the Canon EF 16-35mm range without the pro-grade build and f/2.8 constant aperture advantage. However, this EF-S lens is much lighter and cheaper than the pro variant, arguably a better value lens overall if everything is considered, especially the price.


Here's what Canon has to say about their lens.[INDENT]Overview
This exciting zoom lens provides ultra wide-angle coverage to the EOS 20D, 30D, 40D, 50D and Digital Rebel SLRs. Equivalent to a 16-35mm zoom, it offers excellent performance and optics designed from the ground-up for digital SLR use. Three Aspherical lens elements, plus a Super-UD element, assure image quality. Its ring-type USM means fast and silent AF along with full-time manual focus. It focuses as close as 9.5 inches.

Specifications

Lens
Focal Length & Maximum Aperture: 10 - 22mm; 1:3.5-4.5
Lens Construction: 13 elements in 10 groups
Diagonal Angle of View: 107° 30' - 63° 30'
Focus Adjustment: Inner focusing system, with focusing cam
Closest Focusing Distance: 0.24m / 0.79 ft.
Zoom System: Ring USM
Filter Size: 77mm
Max. Diameter x Length, Weight: 3.3" x 3.5", 13.6 oz. / 83.5 x 89.8mm, 385g
[/INDENT][URL="http://reviews.davidleetong.com/wp-content/gallery/efs10_22/efs10_22_24.JPG"][/URL]


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Lightroom 2.x offers a great deal of flexibility and ease when it comes to creating dynamic monochrome images. Using a variety of standard tools within Lightroom 2.x allows you to play with color channels, dodge & burn, add vignettes, etc. intuitively. Here’s a basic workflow that I usually follow when I convert my images to monochrome in Lightroom.


One of the keys to a good monochrome image is to select the right photograph to use. There are no hard rules in choosing an image, but it’s best to have an image with good tonality and lots of midtones to work with rather than using a really high-contrast image unless the purpose is intentional high contrast.
Images with ample texture and tones usually make great monochrome images.
We’ll use this image here that my friend, John Garcia, sent me to use as an example.




1) Import image into Lightroom.




2) Switch to the Develop module.



Read the entire tutorial here <<

[chinoy]

@B&W

the images are not displaying properly sir.

Just to add to the last article, Lightroom is highly comparable with the popular image management tool Aperture as far as ranking, stacking and image comparison goes.
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The site was updated, old photos won't work anymore, you have to go to the site to access it.

Aperture has no bearing on non-Mac users...

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Level: Intermediate


While there are many methods to convert colored images to monochrome, the initial result is hardly satisfying. Much like traditional black and white film images, the images usually require some darkroom magic to bring out the best in those images, the same can be said with digital images.


The most common art to master is to learn how to dodge and burn your monochrome images to create stunning contrast and tonality. Adobe Photoshop and Adobe Lightroom both allow you to perform dodge and burn enhancement but Photoshop offers more control and customization.


If there’s a digital image that deserves some time for post-processing, it will be monochrome images. Digital image files allow you to have infinitely-variable fine-tuning with instant image feedback, which is a far more flexible way to create monochrome magic compared to a chemical darkroom.


For this tutorial, we’ll be using Curves Adjustment Layers for dodge and burn adjustments. As I’ve mentioned previously, there are many ways to do this, but for this tutorial, we’ll be using two curve adjustment layers, which offers a lot of flexibility for adjustments.


>>>>Read the whole tutorial here<<<<

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[megbernardo]

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Just a quick post for this one, supplementing our original Controlling the Direction of Light article, as we attempt to replicate moody, window light with a camera-mounted flash.

One of our many goals of controlling the direction of our light is to be able to replicate natural light without sacrificing shutter speed and/or noise. For artificial lighting, it’s best to use an external light source that’s not mounted on the camera, but in many event coverage or casual home shooting, we don’t have the luxury of whipping out our lighting equipment to simulate the mood and direction of natural window light, especially in small, tight quarters.

>>> Read the entire article at http://reviews.davidleetong.com<<<

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In this article, we are going to attempt to mimic the traditional 3-light (key, fill, and hair light) setup for portraits with just a single light source. By “one light”, I don’t mean a single light positioned at the usual 45-degree or 90-degree to the subject kind of light.


Much can be done with one solitary light source, especially when the flash is not mounted on the camera itself.


>>> Read the entire article here.<<<

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Level: Easy
Sorry for the cheesy title :p

Here’s a tried and tested method to improve colors of your images using Photoshop’s LAB color mode. This is very easy to do and without the color clipping pitfalls that occur in RGB modes when you’re saturating images.

Some classroom notes to be mentioned first. The LAB mode in Photoshop is separated into three channels, the Lightness channel, which contains the luminance data of your image. The “a” channel contains information from the green spectrum to the red spectrum (left to right), while the “b” channel contains information between blue to yellow (again, left to right).

Working with LAB mode allows you to play with your color values without worrying about losing details in your color channels unlike in RGB and CMYK modes.

Here’s our starting photo.
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[URL="http://reviews.davidleetong.com/?p=1066"]>>> Read the Whole Tutorial @ David's Simple Photography <<<[/URL]
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http://reviews.davidleetong.com/?p=1047

I just received a set of Flash Waves II Digital Radio Slaves recently and to be honest, I haven’t played around with it too much yet as I’m a relatively new when it comes to using off-camera flash, especially with radio triggers.





This is a brief review of the Korean-made Flash Waves II trigger manufactured by S.M Development Co. (SMDV), and I got my unit through Aperture Trading in Manila, Philippines

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First thing you’ll notice is the box. While it doesn’t scream “high-end”, it won’t shout “cheap” either. The packaging is well labeled and the items inside are well protected and isolated. The instructions are typical Chinese/Korean translated English, though.




Inside the box, you’ll find:

[*]FlashWaves Tx - The transmitter unit with pre-installed 23A battery)
[*]FlashWaves Rx - The receiver unit
[*]A mini table-top tripod
[*]Two stick-on cold-shoe adapters (to mount the receiver to a flash unit’s body)
[*]One 3.5-3.5 mini sync cable
[*]One 3.5-3.5 sync jack
[*]One 3.5-6.3 sync adapter
[*]One set of Ansmann AAA batteries for the receiver
[*]Extra 23A battery for the transmitter
[*]One carrying pouch
[*]and One extra tightening knob.

One unique aspect of the Flash Waves Rx (receiver) is the availability of a built-in hotshoe. This is a very handy feature for Canon users as most Canon flashes prior to the current 580EX II Speedlight don’t come with a PC-sync port. With this built-in hotshoe, I can mount the flash straight onto the receiver and mount the receiver onto a flash bracket or even a tripod, as the Flash Waves Rx comes with a tripod socket as well.





>>>> Read the whole review...<<<<

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Level: Easy


Here’s a very simple way to make colors come alive in almost any photograph using Photoshop. I use it in many of my outdoor photos where there are vibrant, solid colors in the background that will complement the entire scene if the bold colors are part of the composition.


Choose an image with big patches of colors and open it in Photoshop, then let’s get started.


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Find out how to improve this photo here

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Level: Intermediate


I picked up this workflow from a Photoshop book I’ve read about a year ago, ever since, I’ve been modifying and incorporating this workflow for most portraits that are only intended for web use or smaller prints. It’s not as meticulous as pixel-level editing, but should suffice for most folks to use on a regular basis.


Before anyone comments about the subject selection, I didn’t want to feature close-up blemishes of a friend or family member’s face so I had to sacrifice my dignity to come up with this tutorial.


If you’ve noticed the models you see on the cover of glamour magazines, you’ll notice that most are young models under the age of 25. Young people have tighter skin, a more healthy glow, and much smaller pores than most grown-ups, which makes them ideal subjects for make-up and beauty close-up shots.


While a good make-up artist can do wonders to any subject, in reality, we probably won’t have a great make-up artist at our disposal on our day-to-day photos, so Photoshop to the rescue!


>>>> Read The Tutorial Now <<<<

[WataMan]

very useful sir david.. kudos!! and thanks

<--save sa bookmark..hehe!
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http://www.flickr.com/photos/alvinography/
http://alvinizm.multiply.com/

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no need to bookmark... Just have updates sent to your email

Click<<<

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http://reviews.davidleetong.com/?p=1138

For those of us who shoot with off-camera flash while using a light modifier such as an umbrella or softbox, we’re bound to encounter the issue of having the flash not on axis with the modifier. Oftentimes, the bracket that holds the flash and modifier together are separated by at least 4-6″ of vertical space with the flash firing downwards at an angle towards the umbrella.


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If we’re using a large modifier, such as a 60″ umbrella, the problem is less pronounced, or if the flash is far enough from the area where the light will be reflecting on. However, with smaller (<40″) umbrellas, the discrepancy of light hitting the top and the bottom of the umbrella will be quite visible.

[URL="http://reviews.davidleetong.com/?p=1138"]Read the rest of the article[/URL]