Personal Information

Name:  Muhammad Dzulhusni bin Othman

Matric Number  : 211752

Place of Birth : Penang

Hobi: play futsal and listening to music

Educational background:Sekolah Kebangsaan Sungai Bakap,SMK Seri Nibong,SMK Tun Syed Sheh   Barakbah,Universiti Utara Malaysia.

Personalities:open minded, likes to make jokes, ambitious, enthusiastic and clear vision and constantly strive for success.

Present-day DSLR Models

NIKON

Nikon D5200                                                                   Nikon D800

   

Nikon D5100                                                                   Nikon D600

  



Canon
 Canon EOS 1100D

                                                               



   














Canon EOS 550D













SONY 

Sony a350                                                                           Sony a900

       

Pentax

Pentax K2000                                                                  Pentax K-X

   


http://www.nikon.com/
http://www.canon.com/
http://www.sony.com.my/productcategory/slt-dslr-camera
http://www.pentaximaging.com/

Wider angle of view

The angle of view of a lens depends upon its focal length and the camera's image sensor size; a sensor smaller than 35 mm film format (36 mm × 24 mm frame) gives a narrower angle of view for a lens of a given focal length than a camera equipped with a full-frame (35 mm) sensor. As of 2012, only a few current DSLRs have full-frame sensors, including the Canon EOS-1D X, EOS 5D Mark III and EOS 5D Mark II; and the Nikon D3X, Nikon D3S, Nikon D700, Nikon D4, and Nikon D800. The scarcity of full-frame DSLRs is partly a result of the cost of such large sensors. Medium format size sensors, such as those used in the Mamiya ZD among others, are even larger than full-frame (35 mm) sensors, and capable of even greater resolution, and are correspondingly more expensive.

The impact of sensor size on field of view is referred to as the "crop factor" or "focal length multiplier", which is a factor by which a lens focal length can be multiplied to give the full-frame-equivalent focal length for a lens. Typical APS-C sensors have crop factors of 1.5 to 1.7, so a lens with a focal length of 50 mm will give a field of view equal to that of a 75 mm to 85 mm lens on a 35 mm camera. The smaller sensors of 

Four Thirds System cameras have a crop factor of 2.0.

While the crop factor of APS-C cameras effectively narrows the angle of view of long-focus (telephoto) lenses, making it easier to take close-up images of distant objects, wide-angle lenses suffer a reduction in their angle of view by the same factor.

DSLRs with "crop" sensor size have slightly more depth-of-field than cameras with 35 mm sized sensors for a given angle of view. The amount of added depth of field for a given focal length can be roughly calculated by multiplying the depth of field by the crop factor. Shallower depth of field is often preferred by professionals for portrait work and to isolate a subject from its background.

Depth-of-field Control

The lenses typically used on DSLRs have a wider range of apertures available to them, ranging from as large as f/1.0 to about f/32. Lenses for digicams rarely have true available aperture sizes much larger than f/2.8 or much smaller than f/5.6.

The f/5.6 limitation is because lens designs of typical small sensor digicams already produce diffraction blur bigger than a few pixels at f/5.6. Because of digicams' smaller sensors there are a limited number of apertures available that will produce an acceptably sharp image. Many digicams only have a two-stop range of apertures because at settings outside of these the image will become too soft because of limits of lens design at large apertures, or diffraction at smaller apertures. To help extend the exposure range, some digicams will also incorporate an ND filter pack into the aperture mechanism.

The apertures that digicams have available give much more depth of field than equivalent angles of view on a DSLR. For example a 6 mm lens on a 2/3" sensor digicam has a field of view similar to a 24 mm lens on a 35 mm camera. At an aperture of f/2.8 the digicam (assuming a crop factor of 4) has a similar depth of field to that 35 mm camera set to f/11 – that's a four-stop difference. Put another way, with both cameras at f/2.8 and focused on a subject 1 meter from the camera, and both cameras zoomed to produce the same angle of view (35 mm camera will need to use larger focal length to produce same angle of view from same distance), the digicam might have a depth of field of 2 meters and the larger camera would have a depth of field of 0.3 meters.

Larger Sensor Sizes and Better Image Quality

Image sensors used in DSLRs come in a range of sizes. The very largest are the ones used in "medium format" cameras, typically via a "digital back" which can be used as an alternative to a film back. Because of the manufacturing costs of these large sensors the price of these cameras is typically over $20,000 as of December 2007.

With the exception of medium format DSLRs, the largest sensors are referred to as "full-frame" and are the same size as 35 mm film (135 film, image format 24×36 mm); these sensors are used in high-end DSLRs such as the Canon EOS-1D X and 5D Mark III, and the Nikon D800, D4, and D600. Most modern DSLRs use a smaller sensor commonly referred to as APS-C sized, that is, approximately 22 mm × 15 mm, a little smaller than the size of an APS-C film frame, or about 40% of the area of a full-frame sensor. Other sensor sizes found in DSLRs include the Four Thirds System sensor at 26% of full frame, APS-H sensors (used, for example, in the Canon EOS-1D Mark III) at around 61% of full frame, and the Foveon X3 sensor at 33% of full frame.

The sensors used in current DSLRs are much larger than the sensors found in digicam-style cameras, most of which use sensors known as 1/2.5", whose area is only 3% of a full frame sensor. Even high-end digicams such as the Canon PowerShot G9/G10/G11/G12/S100 or the Nikon Coolpix P5000/P6000 use sensors that are approximately 5% and 4% of the area of a full frame sensor, respectively. The current exceptions are the Micro Four Thirds system by Olympus and Panasonic; the Sigma DP1, which uses a Foveon X3 sensor; the Leica X1; the Canon PowerShot G1 X, which uses a 1.5" (18.7 x 14mm) sensor that is slightly larger than the Four Thirds standard and is 30% of a fullframe sensor; and two models from Sony, the RX100 with a 1"-type (13.2 x 8.8mm) sensor with about half the area of Four Thirds and the full-frame Sony RX1.

Live Preview

Early DSLRs lacked the ability to show the optical viewfinder's image on the LCD display, a feature known as live preview. Live preview is useful in situations where the camera's eye-level viewfinder cannot be used, such as underwater photography where the camera is enclosed in a plastic waterproof case.

Olympus introduced the Olympus E-10 in the summer of 2000, which was the first DSLR with live preview – albeit an atypical design with a fixed lens. In late 2008, some DSLRs from Canon, Nikon, Olympus, Panasonic, Leica, Pentax, Samsung and Sony all provide continuous live preview as an option. Additionally, the Fujifilm FinePix S5 Pro offers 30 seconds of live preview.

On all DSLRs that offer live preview via the primary sensor, the phase detection autofocus system does not work in the live preview mode, and the DSLR switches to a slower contrast system commonly found in point & shoot cameras. While even phase detection autofocus requires contrast in the scene, strict contrast detection autofocus is limited in its ability to find focus quickly, though it is somewhat more accurate.

Some live preview systems make use of the primary sensor to provide the image on the LCD (which is the way all non-DSLR digicams work), and some systems use a secondary sensor. Possible advantages of using a secondary sensor for live preview is to avoid additional noise that might result from the primary sensor heating up from continuous use and allowing faster auto-focus via phase autofocus.

A new feature via a separate software package introduced from Breeze Systems in October 2007, features live view from a distance. The software package is named "DSLR Remote Pro v1.5" and enables support for the Canon EOS 40D and 1D Mark III.

HD video capture

Since 2008, manufacturers have offered DSLRs which offer a movie mode capable of recording high definition motion video. A DSLR with this feature is often known as an HDSLR or DSLR video shooter. The first DSLR introduced with an HD movie mode, the Nikon D90, captures video at 720p24 (1280x720 resolution at 24 frame/s). Other early HDSLRs capture video using a nonstandard video resolution or frame rate. For example, the Pentax K-7 uses a nonstandard resolution of 1536×1024, which matches the imager's 3:2 aspect ratio. The Canon EOS 500D (Rebel T1i) uses a nonstandard frame rate of 20 frame/s at 1080p, along with a more conventional 720p30 format.

In general, HDSLRs use the full imager area to capture HD video, though not all pixels (causing video artifacts to some degree). Compared to the much smaller image sensors found in the typical camcorder, the HDSLR's much larger sensor yields distinctly different image characteristics. HDSLRs can achieve much shallower depth of field and superior low-light performance. However, the low ratio of active pixels (to total pixels) is more susceptible to aliasing artifacts (such as moire patterns) in scenes with particular textures, and CMOS rolling shutter tends to be more severe. Furthermore, due to the DSLR's optical construction, HDSLRs typically lack one or more video functions found on standard dedicated camcorders, such as autofocus while shooting, powered zoom, and an electronic viewfinder/preview. These and other handling limitations prevent the HDSLR from being operated as a simple point-and-shoot camcorder, instead demanding some level of planning and skill for location shooting.

Video functionality has continued to improve since the introduction of the HDSLR. HD movie mode is now offered on many DSLRs, from entry level (such as the Canon EOS 550D (Rebel T2i) and Nikon D5000) to professional level (such as the Canon EOS 5D Mark II and Canon 1D Mark IV.) Among the improvements include higher video resolution (such as 1080p24) and video bitrate, improved automatic control (autofocus) and manual exposure control, and support for formats compatible with high-definition television broadcast, Blu-ray disc mastering or Digital Cinema Initiatives (DCI). The Canon EOS 5D Mark II (with the release of firmware version 2.0.3/2.0.4.) and Panasonic Lumix GH1 were the first HDSLRs to offer broadcast compliant 1080p24 video, and since then the list of models with comparable functionality has grown considerably.

The rapid maturation of HDSLR cameras has sparked a revolution in digital filmmaking. Canon's North American TV advertisements featuring the Rebel T1i have been shot using the T1i itself. An increased number of films, documentaries, television shows, and other productions are utilizing the quickly improving features. One such project is Canon's "Story Beyond the Still" contest that asked filmmakers to collectively shoot a short film in 8 chapters. Each chapter was shot in only a couple of weeks and a winner was determined for each chapter, afterward the winners collaborated to shoot the final chapter of the story. "Shot On DSLR" is a quickly growing phrase among independent filmmakers. The movement has even inspired a branding: the "Shot On DSLR Badge".

Due to the affordability and convenient size of HDSLRs compared to professional movie cameras, The Avengers used five Canon EOS 5D Mark II and two Canon 7D to shoot the scenes from various vantage angles throughout the set and reduced the number of reshoots of complex action scenes.

Concerning using a DSLR camera as a video camera, some manufacturers make optional accessories to assist his filmmakers feel as using real video/film camera. One of them is External EVF with 1.2 million pixels.