Thursday, July 28, 2011

Lighting Versus Composition



There’s a lot of “versus” in photography. We can talk about one brand of gear versus another, one type of software application versus another, and even point to discussions about one genre of photography versus another. Canon versus Nikon, Photoshop versus Aperture, architecture versus landscape. it’s a never-ending onslaught of discussion points. Truthfully, it’s often tough to keep up with all of the different elements (for lack of a better phrase) associated with the craft.

We always seem drawn to discussions and pieces that talk about one element versus another. The ones that I always find most engaging are discussions that look at one subjective feature versus another. When we start looking inward and asking ourselves “why” we take images, “how” to capture images, and all this sort-of esoteric stuff, I think that’s when we finally have incorporated all the technical sundry stuff into our brains

At this point, we’re ready to be inspired! The “versus” questions here really start to become staggering though, so rather than tackle the minutia of various psychologies of photography, one of the most fundamental ones to ask as you venture toward introspection is that of lighting versus composition. While it’s arguable that each is of such critical importance in the success of a photo, and that each could stand on its own as the “element of success”, both can be powerful factors that contribute to the overall impact in photographs. So, which one should you put your attention to? Better yet, which one comes more naturally? It’s an interesting question, and one that I’ve teased a little in various outlets, including the blog, and the podcast.

The fundamental principle behind this discussion is that something has to draw your eye or catch your attention; thus inspiring you to capture the moment. The question then is - Which was it that inspired you, the lighting or the composition? Clearly, depending on the shot, it could be one or the other, and sometimes it can even be a combination of both. The laugh of a girl in the afternoon “golden hours” can be a perfect example of an instance where both elements factor into what is catching your eye.

Often, the driving motivation behind an image could simply be the light. In the garage scene displayed above, I walked into the building and instantly saw the rays of light (I even ended up titling the image that way). Once I saw the light, it was then up to me to decide how to compose it. Nevertheless, the light itself was the point of inspiration.

The other instance I recall was a sunrise on Bull Island in South Carolina. The scene is a landscape and was created after several scouting trips, using something often referred to as pre-visualization, and then a ton of research. I saw a scene, was moved to capture it, then took the time to both decide how I wanted it lit, and then doing the legwork to ensure the lighting matched what I wanted to get in my own minds eye.

So initially, the whole versus idea is kind of turned on its head here because the answer is clearly one of “it depends,” right? Well, yes and no. Sure, inspiration can come from one area and we can then mentally work our way through the other element of the image, but this presumes two important things:
  1. We are aware of these two fundamental characteristics of photography: lighting and composition. They are not (nor should they be) interpreted as being mutually exclusive.
  2. We are equally capable of approaching the craft from either tactic, and then filling in the remainder.
The simple fact of the matter is, even when you think you are stating something so obvious that everyone should know about it, sometimes that just is not the case. Stating that lighting and composition are the two cornerstones of good photography is a logical thing to say, but as you explore it further one can see that there is much more to it than a simple statement of fact. I’ve often found myself after reading inspirational works saying, “Well, that made sense. Why didn’t I think of that before?”

On the second point, the other notion we have to come to terms with is that different people think in different ways. We take for granted that people can “see” things our way. But the truth of the matter is that each vision is unique, and no two sets of eyes will always see things identically. Some will be more attuned to the lighting, while others will be more attuned to the composition. Whichever is your forte, great! Run with that! But it also means that you will need to be cognizant that the other (since it’s not a forte) is something you will have to work at if you want to get better.

So, getting back to the original thrust; that of lighting and composition in imagery. Believe it or not, some subjects are more prone to one end of the spectrum, while others lead you in the opposite direction. If it’s tough for you to visualize which way you “lean” by these abstract terms, take a look at these categories:

People – When push comes to shove, capturing people (portraiture) is really about more than the face or how you have them positioned. The composition is not nearly
as impactful as the lighting is in portraits. Take a look at a few photos of people in both good and bad light, then at photos of people that are well composed versus some that aren’t the best in the world. By and large, the well-lit ones will be dramatically different from the poorly lit ones. Good lighting can bring out the personality in ways that composition can’t even come close to, whereas lack of composition in photos can be compensated for if you’ve got the light perfect. This assumes of course that the other elements of the photo are there – you can see the face, eyes are in focus, etc.

Places - Places, on the other hand, are far more dependent on composition. If you take a good landscape, you’ll notice certain things are always lined up in some way. Whether it’s the Rule of Thirds, the Golden Mean, Sunny 16, or other such compositional approaches are used, these exist simply because they work and it’s never more evident than in landscape photography. Does lighting help? Absolutely,but without the fundamentals of composition, all the good light in the world won’t make a badly composed image great.

Things – Surprise, with “things,” it gets a bit trickier because here you actually do need a better sense of both lighting and composition. If one is off, the image as
a whole is likely impacted. Underexposed images here can be dreadful, as can the wrong angle or composition. If you tend to enjoy taking pictures of things, be prepared to develop a keen sense of both lighting and composition.

So, what does this tell us? Firstly, if you tend to take good pictures of people, you likely have a natural knack for lighting. Alternatively, if you tend to take good pictures of locations, your compositional skills are probably more-easily grasped. Finally, “things” (think product photography and studio work) require the most
breadth and depth of skills; you need to have a pretty good sense of both.

No matter how you slice it, the bottom line of all of this is that both lighting and composition are skills that evolve with practice. It’s only with practice that you can develop both a sense of the light needed in a scene, and the scene needed to give relevance to the light. So, without further ado – get out and practice!

by: Jason Anderson
PhotographyBB 41


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Monday, July 25, 2011

Tips or guidelines when take Nature/Wildlife picture



Tips or guidelines when take Nature/Wildlife picture
  1. Don't make sudden moves. Any sudden move will startle the animal and it will cause it to flee.
  2. Don't approach the animal in a straight line. As soon the animal sees you, it considers you as danger. hence the best solution here is to make the animal feel that you are not a danger to it. Walk away from the animal, and let the animal see you walking away. let the animal feel that you are not interestes in it. So, in short. zic-zac your path. Whenever it notices you, walk away so it can see you moving away, and when you and the animal are not in each others line of sight, move towards the animal as silently as you can.
  3. Camouflage. It helps to wear clothes that blend into the surroundings. Imagine wearing a bright yellow shirt in the wilderness!
  4. Maintain silence. This is very important. Animals have a superior sense of hearing, and will become alert at the slightest sound of you talking with your friends.
  5. Try to approach an animal against the wind. Most animals have a keen of smell and if the wind blows from your direction to the animal, it will immediately smeel you and know your presence. Hence try to approach it in such a way that the wind blows from tahe animal towards you.
  6. Avoid perfumes/after-shaves/lipsticks. If you wear it, It will smell you even before you can come reasonably close to it.
  7. Use a hide if possible. If you have planned in advance, consider shooting from a well-camouflaged hide.
  8. Point to consider when setting up your hide. Animals (remember, this includes birds) are vary of strange items. if they suddenly see a hide where none existed earlier, they will grow suspicious.
  9. Subject welfare. Remember, the welfare of the subject is your respomsibility.
by: Rohinton Mehta

MOTOGP RESULT GRAND PRIX OF US (Laguna Seca) 2011 - Repsol Honda rider Casey Stoner took victory over Jorge Lorenzo



MOTOGP RESULT GRAND PRIX OF US (Laguna Seca) 2011 - Repsol Honda rider Casey Stoner took victory over Jorge Lorenzo

1. Casey Stoner AUS Repsol Honda Team Honda 158.0 43:52.145
2. Jorge Lorenzo SPA Yamaha Factory Racing Yamaha 157.7 +5.634
3. Dani Pedrosa SPA Repsol Honda Team Honda 157.4 +9.467
4. Ben Spies USA Yamaha Factory Racing Yamaha 156.8 +20.562
5. Andrea Dovizioso ITA Repsol Honda Team Honda 156.8 +20.885
6. Valentino Rossi ITA Ducati Team Ducati 156.2 +30.351
7. Nicky Hayden USA Ducati Team Ducati 156.2 +31.031
8. Colin Edwards USA Monster Yamaha Tech 3 Yamaha 155.3 +45.502
9. Hector Barbera SPA Mapfre Aspar Team MotoGP Ducati 155.0 +51.549
10. Hiroshi Aoyama JPN San Carlo Honda Gresini Honda 154.0 +1:08.850
11. Karel ABRAHAM CZE Cardion AB Motoracing Ducati 154.0 +1:09.132
12. Loris Capirossi ITA PRAMAC RACING TEAM Ducati 152.3 1 LAP
13. Toni ELIAS SPA LCR Honda MotoGP Honda 150.9 1 LAP

Not Classified
19 Alvaro BAUTISTA SPA Rizla Suzuki MotoGP Suzuki 155.5 19 Laps
23 Ben BOSTROM USA LCR Honda MotoGP Honda 142.6 24 Laps
58 Marco SIMONCELLI ITA San Carlo Honda Gresini Honda 155.6 26 Laps
35 Cal CRUTCHLOW GBR Monster Yamaha Tech 3 Yamaha 150.8 29 Laps

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MOTOGP RESULT GRAND PRIX OF CATALUNYA 2011 - Casey Stoner took his 26th victory
MOTOGP RESULT GRAND PRIX OF SILVERSTONE 2011 - Casey Stoner wins, Honda Finish 1-2
MOTOGP RESULT GRAND PRIX OF ASSEN 2011 - Ben Spies First Podium, Marco Simoncelli Take Jorge Lorenzo Down.

F1 RESULT GRAND PRIX OF GERMAN (Nurburgring) 2011 - Lewis Hamilton, McLaren Win



F1 RESULT GRAND PRIX OF GERMAN (Nurburgring) 2011 - Lewis Hamilton, McLaren Win

1. Lewis Hamilton McLaren-Mercedes 60 Winner 2 25
2. Fernando Alonso Ferrari 60 +3.9 secs 4 18
3. Mark Webber RBR-Renault 60 +9.7 secs 1 15
4. Sebastian Vettel RBR-Renault 60 +47.9 secs 3 12
5. Felipe Massa Ferrari 60 +52.2 secs 5 10
6. Adrian Sutil Force India-Mercedes 60 +86.2 secs 8 8
7. Nico Rosberg Mercedes 59 +1 LAP 6 6
8. Michael Schumacher Mercedes 59 +1 LAP 10 4
9. Kamui Kobayashi Sauber-Ferrari 59 +1 LAP 17 2
10. Vitaly Petrov Renault 59 +1 LAP 9 1
11. Sergio Perez Sauber-Ferrari 59 +1 LAP 15
12. Jaime Alguersuari STR-Ferrari 59 +1 LAP 16
13. Paul Di Resta Force India-Mercedes 59 +1 LAP 12
14. Pastor Maldonado Williams-Cosworth 59 +1 LAP 13
15. Sebastien Buemi STR-Ferrari 59 +1 LAP 24
16. Heikki Kovalainen Lotus-Renault 58 +2 LAPS 18
17. Timo Glock Virgin-Cosworth 57 +3 LAPS 19
18. Jerome d Ambrosio Virgin-Cosworth 57 +3 LAPS 21
19. Daniel Ricciardo HRT-Cosworth 57 +3 LAPS 22
20. Karun Chandhok Lotus-Renault 56 +4 LAPS 20

Not Classified:
23 Vitantonio Liuzzi HRT-Cosworth 37 +23 LAPS 23
4 Jenson Button McLaren-Mercedes 35 +25 LAPS 7
11 Rubens Barrichello Williams-Cosworth 16 +44 LAPS 14
9 Nick Heidfeld Renault 9 +51 LAPs 11

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Sunday, July 17, 2011

AF-S DX Micro NIKKOR 40mm f/2.8G



A DX-format normal Micro lens for easy, full-fledged close-up shooting

TOKYO - Nikon Corporation is pleased to announce the release of the AF-S DX Micro NIKKOR 40mm f/2.8G, a normal Micro lens for Nikon DX-format digital-SLR cameras offering a focal length of 40mm and a maximum aperture of f/2.8.


As a normal Micro lens that easily enables close-up shooting as close as 0.163 m for life-size images exhibiting pleasing blur characteristics, the AF-S DX Micro NIKKOR 40mm f/2.8G is a new model in the DX-format lens lineup. It is a compact and lightweight lens available at a very reasonable price for those new to digital-SLR cameras and those currently looking to add to a lens purchased as a set with a Nikon digital-SLR camera. In addition to a built-in Silent Wave Motor(SWM) that enables the quiet autofocus operation vital to close-up photography of insects and animals, the AF-S DX Micro NIKKOR 40mm f/2.8G also offers a number of convenient features, including two focus modes—M/A (autofocus with manual override) and M (manual).

Nikon has long had the support of professional and advanced amateur photographers for its consistent development of innovative products that respond to the demands of users and are equipped with the optical technologies Nikon has spent years cultivating as a manufacturer of optical devices. Nikon intends to continue to expand and strengthen the NIKKOR lineup with the steady release of new, high-performance lenses that offer advanced functions.

more info

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MOTOGP RESULT GRAND PRIX OF SACHSENRING 2011 - Dani Pedrosa back to win



MOTOGP RESULT GRAND PRIX OF SACHSENRING 2011 - Dani Pedrosa back to win

1. Dani PEDROSA SPA Repsol Honda Team Honda 160.4 41'12.482
2. Jorge LORENZO SPA Yamaha Factory Racing Yamaha 160.3 +1.477
3. Casey STONER AUS Repsol Honda Team Honda 160.3 +1.568
4. Andrea DOVIZIOSO ITA Repsol Honda Team Honda 159.7 +10.513
5. Ben SPIES USA Yamaha Factory Racing Yamaha 159.7 +10.719
6. Marco SIMONCELLI ITA San Carlo Honda Gresini Honda 159.6 +10.923
7. Alvaro BAUTISTA SPA Rizla Suzuki MotoGP Suzuki 158.6 +27.451
8. Nicky HAYDEN USA Ducati Team Ducati 158.6 +27.510
9. Valentino ROSSI ITA Ducati Team Ducati 158.6 +27.576
10. Colin EDWARDS USA Monster Yamaha Tech 3 Yamaha 158.2 +33.491
11. Hector BARBERA SPA Mapfre Aspar Team MotoGP Ducati 157.9 +38.944
12. Karel ABRAHAM CZE Cardion AB Motoracing Ducati 157.9 +39.148
13. Randy DE PUNIET FRA Pramac Racing Team Ducati 157.8 +39.415
14. Cal CRUTCHLOW GBR Monster Yamaha Tech 3 Yamaha 157.8 +39.477
15. Hiroshi AOYAMA JPN San Carlo Honda Gresini Honda 156.9 +54.516
16. Toni ELIAS SPA LCR Honda MotoGP Honda 155.8 +1'12.335
17. Sylvain GUINTOLI FRA Pramac Racing Team Ducati 154.0 1 Lap

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Tuesday, July 12, 2011

Photograph an Art Show (Improve Your Photography)



Every spring or summer, my area is booked with art shows. One of the most popular in the country is the Ann Arbor Art Show, which takes place every July. There are also numerous art shows which take place in almost every major community. You can go to different shows every weekend of the summer, and never run out of shows to visit. Quite often, I'll know one or two of the photographers displaying and selling their artwork, another incentive to go.

I like to go to as many art shows as I can for two reasons. First, as a photographer, I like to view other photographers work, and talk with them. I consider myself an artist, and a great way to expand your artistic horizons is to talk to other artists! Its one of the ways I learn, and it gets me in touch with others with similar interests. The second reason I enjoy art shows, is the diversity in subject matter in which I can take photographs. I always bring one of my digital cameras with me.

While at the art show, I'll photograph whatever the day presents to me. It may be a closeup of a sculpture from an artist, it may be one of the musical artists that is performing, or it may be one of the other people enjoying the fair that day. No preconceived agenda, just going with the flow, and photographing as I go. With that in mind, here are a few suggestions I have for you when you visit art shows, and carry your camera with you:
  • When photographing other artists work, ask permission first. Ask the artist for their business card (this is important), and explain to them you're just enjoying the day, and like to photograph people and artwork. If the artist agrees, let them know that if you ever publish any of the photographs that you'll first contact them and ask them for a release. This is of respect for other artists and their work. If the artists objects, thank them, tell them you understand, and move on to the next booth.
  • If the artists gives you permission, thank them. You can even take their photograph in front of their booth, and email them a copy as a gesture of gratitude. Shoot for color and abstracts. Personally, I am constantly adding to my abstract and color-study portfolios. Shooting close ups of artwork is one of my sources for these types of images. Don't be afraid to get in close on sculptures and other pieces of art. You'll be pleasantly surprised at some of the images you'll get.
  • Watch the people. Take a look around, and fire off some candid's of interesting people attending the art fair.
by: Kevin L. Moss

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Sunday, July 10, 2011

Mastering the Nikon D7000 book now shipping



Mastering the Nikon D7000 by Darrell Young is on the way to book retailers and our publication team already has received advance copies.



We have more details, including the author's announcement that this new addition to the NikoniansPress/Rocky News "Mastering" series has extra chapters available online in our D7000 book News Blog.

Source: Nikonians.org

Carry a Camera Wherever You Go (Improve Your Photography)



Carry a Camera Wherever You Go

The way to become a better photographer and get the most from your digital camera is to just use the thing. Take it with you wherever you go. Get used to carrying it around and shooting some images. Get over that embarrassed feeling of taking pictures of things when other people are around. Just ignore them, or better yet, take their picture! As a bonus, you then have more images to play with when you begin to edit them in Photoshop or Elements, or which ever image editing software you’ll use.

I was doing a consulting gig a few years back for General Motors in downtown Detroit. Often during lunch breaks, I'd take a walk around the downtown area, carrying one
of my digital cameras. I was able to get many good shots of the unique architecture the downtown area offers. I wouldn't have that opportunity if I didn't carry a camera with me each day I was working on my GM Web project. At that time, the Super Bowl was in town, February 2006, with the press center for the week being held at Detroit's Renaissance Center, the home of General Motors World Headquarters. The entire media, sports and celebrity world converged in the building where I was spending all my time. Great opportunity for shots I normally wouldn't have a chance to get.

I wasn't planning on photographing anything in particular, actually, I didn't have the time. I was working on a large Web project and deadlines were looming. What I did manage to do was walk around the huge spectacle, and fire off a few shots worth keeping. One in particular, was of Aaron Neville, who was to sing the National Anthem before the game. I caught him in the hallway after one of his many press interviews. Summary: If you're like me, you may have a few digital SLR's that aren't too convenient to carry around or leave in a car all day long. What I do, is carry a compact digital camera, one with quality such as the Canon G11 or the Nikon Coolpix P6000 Both of these cameras will serve you well, and fit into a pocket, purse, briefcase or backpack.

by: Kevin L. Moss

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F1 RESULT GRAND PRIX OF BRITISH (Silverstone) 2011 - Alonso Wins, Ferrari is back



F1 RESULT GRAND PRIX OF BRITISH (Silverstone) 2011 - Alonso Wins, Ferrari is back

1. Fernando Alonso Ferrari 52 Winner 3 25
2. Sebastian Vettel RBR-Renault 52 +16.5 secs 2 18
3. Mark Webber RBR-Renault 52 +16.9 secs 1 15
4. Lewis Hamilton McLaren-Mercedes 52 +28.9 secs 10 12
5. Felipe Massa Ferrari 52 +29.0 secs 4 10
6. Nico Rosberg Mercedes 52 +60.6 secs 9 8
7. Sergio Perez Sauber-Ferrari 52 +65.5 secs 12 6
8. Nick Heidfeld Renault 52 +75.5 secs 16 4
9. Michael Schumacher Mercedes 52 +77.9 secs 13 2
10. Jaime Alguersuari STR-Ferrari 52 +79.1 secs 18 1
11. Adrian Sutil Force India-Mercedes 52 +79.7 secs 11
12. Vitaly Petrov Renault 52 +80.6 secs 14
13. Rubens Barrichello Williams-Cosworth 51 +1 LAP 15
14. Pastor Maldonado Williams-Cosworth 51 +1 LAP 7
15. Paul Di Resta Force India-Mercedes 51 +1 LAP 6
16. Timo Glock Virgin-Cosworth 50 +2 LAPS 20
17. Jerome dAmbrosio Virgin-Cosworth 50 +2 LAPS 22
18. Vitantonio Liuzzi HRT-Cosworth 50 +2 LAPS 23
19. Daniel Ricciardo HRT-Cosworth 49 +3 LAPS 24

Not Classified
4 Jenson Button McLaren-Mercedes 39 +13 LAPS 5
18 Sebastien Buemi STR-Ferrari 25 +27 LAPS 19
16 Kamui Kobayashi Sauber-Ferrari +29 LAPS 8
21 Jarno Trulli Lotus-Renault +42 LAPS 21
20 Heikki Kovalainen Lotus-Renault +50 Laps 17

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Tuesday, July 5, 2011

How to find Len's Optimal Aperture?



Optimum Aperture
Every Lens, however cheap, has one particular aperture that produces the sharpest result at the point of focus. This aperture is known as the optimum aperture. When critical sharpness is required, use the optimum aperture to get the maximum sharpness the lens is capable, at the focus point.

How to find the Len's Optimal Aperture? (This assuming that your lens focuses accurately)
  1. Stick a large printed paper on the wall. Set up the camera on a good tripod and carefully align it so that the sensor is perfectly parallel to the paper.
  2. Taking extra care not to shake the tripod, take shots at every possible aperture.
  3. Check the images side by side on a computer screen. The sharpest text indicates the optimal aperture of that lens.
by: Rohinton Mehta

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Monday, July 4, 2011

Shoot With a Fixed 50mm F/1.8 (Improve Your Photography)



Shoot With a Fixed 50mm F/1.8

This one is for all the DSLR users out there. If you’re still using a compact digital camera (and that’s fine!), keep this in mind when you upgrade to your favorite DSLR; use a fixed 50mm f/1.8 lens for your digital camera. I say this for a few reasons, the most important of which, is image quality for the dollar. I’ve used both the Nikon 50mm f/1.8D AF Nikkor and the Canon EF 50mm f/1.8 II Both lenses work remarkably well.

If I’m shooting with one of my Nikon DSLR’s or my Canon, I always have a 50mm f/1.8 lens in my bag. I use some good lenses, but these little guys usually rate at the top when it comes to quality. Additionally, the lenses are tack-sharp whether you’re shooting wide open at f/1.8 or closed down to f/22. Additionally, my 50mm f/1.8 is one of my favorite portrait lenses. Teamed up with a DSLR sensor with a 1.5X or higher crop factor (like you’ll find in the Nikon D90, Canon 50D, Canon Digital Rebel and most digital SLR cameras that aren’t full frame), you get an actual 75mm portrait lens. If you’re using a full frame sensor DSLR, you’re getting the standard lens.

In any case, you’re getting top quality for about $100 USD. That’s quite a bargain given the quality you’ll get with these lenses. In this example, I used my second camera that I carry when shooting the occasional wedding. A Nikon D80 fit with the Nikon 50mm f/1.8 lens. I shot without flash, hand held, through a window. After getting the images from the wedding into Lightroom for a closer look, I was amazed at the color and sharpness of the lens. I like to shoot my portraits with this lens whenever possible.

In addition to shooting portraits, weddings and candid photo's with a 50mm f/1.8, I like to shoot my still life and flowers with the lens. In studio or outdoor situation, it’s my best flower lens.

The positives:
  • Tack Sharp: Due to the fact that the manufacturers of these lenses don't have to add a lot of glass to be used for zooming through a large range, the design is fixed, and simple.
  • Value For the Money: For around $100 U.S., you just can't beat the dollar-for-quality value of these lenses.
  • Small and Lightweight: Both the Canon and Nikon models are small and weigh about ½ of your kit lens.

Drawbacks:
  • No Zoom: We're spoiled these days. In the past, when we shot with fixed focal length lenses with our film cameras, we did zoom, but we did it by “using our feet”.

In summary, if you're a DSLR user and you don't have one of these little babies, give it a try. The cost of the lens is minimal, and the benefit of tack-sharp images far outweigh the negative of not being able to go wide-angle to telephoto in one lens.

by: Kevin L. Moss

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MOTOGP RESULT GRAND PRIX OF MUGELLO 2011 - A fantastic race saw Jorge Lorenzo stalk down Casey Stoner to clinch his second win.



MOTOGP RESULT GRAND PRIX OF MUGELLO 2011 - A fantastic race saw Jorge Lorenzo stalk down Casey Stoner to clinch his second win.

1. Jorge Lorenzo SPA Yamaha Factory Racing Yamaha 173.0 41:50.089
2. Andrea Dovizioso ITA Repsol Honda Team Honda 172.9 +0.997
3. Casey Stoner AUS Repsol Honda Team Honda 172.9 +1.143
4. Ben Spies USA Yamaha Factory Racing Yamaha 172.4 +8.980
5. Marco Simoncelli ITA San Carlo Honda Gresini Honda 172.4 +9.076
6. Valentino Rossi ITA Ducati Team Ducati 171.2 +26.450
7. Hector Barbera SPA Mapfre Aspar Team MotoGP Ducati 171.1 +28.745
8. Dani Pedrosa SPA Repsol Honda Team Honda 170.8 +32.043
9. Colin Edwards USA Monster Yamaha Tech 3 Yamaha 170.7 +33.421
10. Nicky Hayden USA Ducati Team Ducati 170.7 +34.724
11. Hiroshi Aoyama JPN San Carlo Honda Gresini Honda 170.5 +37.359
12. Karel ABRAHAM CZE Cardion AB Motoracing Ducati 170.0 +43.964
13. Alvaro Bautista SPA Rizla Suzuki MotoGP Suzuki 169.8 +47.654
14. Randy de Puniet FRA PRAMAC RACING TEAM Ducati 169.7 +48.840
15. Toni ELIAS SPA LCR Honda MotoGP Honda 168.0 +1:15.199

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MOTOGP RESULT GRAND PRIX OF ASSEN 2011 - Ben Spies First Podium, Marco Simoncelli Take Jorge Lorenzo Down.

Friday, July 1, 2011

Nikon D4 and D900 Replacement for D3 and D300 (rumors)



The Japanese magazine CAPA published drawings of Nikon D4 and D900 cameras.

Nikon D4:
  • full frame 18MP CMOS sensor (8 MP when cropped to APS-C)
  • usable ISO 51200
  • 11fps (20fps with live view, 30fps with APS-C crop)
  • flexible LCD monitor
  • built-in WiFi
  • 51 point all-cross AF point
Nikon D900:
  • full frame 18mp CMOS sensor
  • usable ISO 51200
  • 8fps, 10fps with grip
  • 4″ LCD screen
  • dual SDHC slot
Source:nikonrumors.com


Dani Pedrosa Back To Race (motoGP) GP Mugello 2011



Dani Pedrosa’s relief at his return after missing the past three Grands Prix through injury was clear, and the Repsol Honda rider is excited at being back on his factory RC212V machine at a track at which he won last year’s race from pole position.
“It’s been strange to be at home watching the races, it’s been a difficult time but it’s passed and I’m here now,” said the Spaniard. “I’m looking forward to this year’s Grand Prix, I won here last year.”
He continued: “It will be hard for me because it’s just two weeks since the last surgery and this track is very demanding physically, it’s going to be a challenge and I will try to have a good weekend. I hope to get more comfortable on the bike and improve step by step.”