Brunei Wedding Photographer and Videographer

Selamat Pengantin Baru Aarori..:-)

2011-10-03T10:41:00.003+08:00

AidilFitri 1431H | 2010M

2010-09-11T23:10:00.001+08:00

One of many pictures taken of a family this year for their hari raya event. Click image for larger size.

isaryan studios wedding services 2010

2009-06-25T08:51:00.008+08:00

A very big thank you to all our happy clients, thank you for supporting us and we certainly enjoyed covering your events and hopefully you will also cherish the moments that isaryan has captured for your family and future generations.

to our new clients ; we welcome you to our humble home. we cover your events like our own and personalize your pictures to make them unique, memorable and valuable as well.

we welcome you to isaryan studios 2010 offerings. please enjoy the pictures below, just to have a very brief look to what we have done and please do not hesitate to contact us for more details. your patronage is our priority.

Bruneian weddings getting costly with new trends

2009-06-08T12:05:00.001+08:00

THE cost of a traditional Bruneian wedding has increased throughout the years due to the rental costs at bridal boutiques and catering services which was non-existent during the 60s and 70s when all preparations for a wedding were done by the help of family members.

Back then, the bride and groom did not think twice about the wedding budget as family members often chipped in to help.

For instance, food was bought by the bride's parents and all the family members would come over to help and cooking would be done by the ladies while the men arranged the seats for guests and built the woodwork for the pelamin (wedding dais) with their own hands.

Nowadays, there are bridal boutiques to rent pelamins and wedding attires and catering services to handle the cooking.

Hjh Halimah, a mother of three, told The Brunei Times that during her wedding in 1975, everything was done by family members. Aunts and uncles would cook and help set up the wedding dais and help sew the wedding attires.

She also said that back then, sometimes the bride would borrow thier older sibling's wedding dress to save cost on buying one.

However, nowadays, weddings are different, she said, revealing that she had to raise some $20,000 for her daughter's recent wedding, which included the Malam Berbedak, a ceremonial event where family members and friends are invited to bless the bride and groom with an ointment made from coloured rice flour and scented oils.

Weddings in Brunei nowadays do not come cheap, even if one minimises the number of events in a traditional Brunei wedding, a handful of cash is still needed to pay for the preparations.

A wedding, with all the three main traditional customs held in one day (hantaran berian, nikah and bersanding), including the invitations would still cost about $15,000.

Atikah Jamain, a banker who is planning on getting married in March next year, told The Brunei Times that she started saving for her wedding since 2005.

She has estimated the cost of her bersanding ceremony to be about $9,730, which includes the necessary make-up artist and hair-stylist, wedding dais, gifts for guests, camps and catering, and her bridal attire. The total amount does not include the invitation cards, photographer and customed paper bags for the gifts.

"At least some of the burden is lessened as some of my family members are sponsoring for some things, like my hand flowers and cake," said Atikah.

Photography is very important nowadays and most couples would hire a photographer to cover all events and even a pre-wedding photoshoot. This would cost around $2,000. Firdaus Hj Mohd, a civil servant, said that he had saved up money with his fiancee to have a pre-wedding photoshoot at the beach.

"It's a bit pricey but worth it to have the wedding documented and to show our children our happiest moments," said Firdaus.

To cope with the expensive budget, some couples would take out personal loans to pay for their wedding. "There is nothing worse than starting off your married life with thousands of dollars in debt," said Hjh Azimah Hj Ali who recently got married this June.

Credit

Tips for Portrait Posing

2009-05-25T01:07:00.002+08:00

Shoot overweight people from the side, and underweight people from the front.
Try slanting your subject’s shoulders at an angle toward the camera. Have you subject bend slightly at the waist and lean in towards the camera for a more engaging photograph.
Shoot from a low angle to make people look taller. Shooting from a high angle makes people appear smaller.
Opposite sides of a person’s face photograph differently. Change angles and find the side that works best.
If your subject has prominent ears, hide one ear behind the head by turning the face three-quarters of the way toward the camera.

D-SLRs For The Professional

2009-05-20T10:38:00.006+08:00

Interesting read this..

HD Video. Professional still photographers had never had Live View or video capability and were more concerned with features like image quality, operating speed and AF performance. But HD video capability adds a whole new dimension to a photographer’s repertoire: the ability to provide clients with high-quality motion and sound, along with high-quality still images.

While they currently lack a full-fledged HD camcorder’s manual controls during shooting, the D-SLRs offer some big advantages over camcorders. The D-SLRs’ much larger sensors theoretically provide better image quality, especially at higher ISOs and in dim light, while the resulting reduced depth of field produces a professional cinematic “look” that a camcorder can’t deliver. D-SLRs accept a wide range of lenses, including fisheye, superwide, supertelephoto, macro and even tilt-shift, many with built-in image stabilization. And with the D-SLR, you can record a high-resolution still image at any time during video recording simply by pressing the shutter button (there will be a brief gap in the video each time you do this, of course).

LCD Monitors. Sony’s DSLR-A700 introduced the 3.0-inch, 920,000-pixel LCD monitor to the D-SLR, soon followed by Nikon’s D3 and D300. Now Canon has joined the fray with the EOS 50D and EOS 5D Mark II, Nikon has added the D3X, D700 and D90 and Sony the DSLR-A900 with these clear high-res devices that feature four times the resolution of most D-SLR LCD monitors.

Resolution. Of course, the megapixel battle continues, although we hope it’s about to run its course. The more pixels you put on a given-sized sensor, the smaller they have to be. And the smaller the pixels, the higher the noise and lower the dynamic range, all other things being equal. There are neat technological tricks the manufacturers use to make smaller pixels see light more effectively (gapless microlenses being one of the latest), but ultimately a given-sized pixel can hold only so many photons. It looks like the new EOS 50D’s 15.1 megapixels on an APS-C-sized sensor and the Sony DSLR-A900’s 24.6 megapixels (and the new Nikon D3X with 24.5 megapixels) on a full-frame sensor are about the limit, at least with current technology.

High-megapixel images also take up more room on memory cards (a 4 GB card will hold around 100 of the Sony A900’s 24.6-megapixel images) and require more computer horsepower (those 24.6-megapixel A900 images open to around 69 MB in Photoshop).

Format. Another big trend is full-frame sensors. Last year, we had three full-frame models: Canon’s EOS-1Ds Mark III and EOS 5D, and Nikon’s D3. Today, that number has more than doubled, with Canon’s aforementioned EOS 5D Mark II, Nikon’s D700 and D3X, and Sony’s DSLR-A900 joining last year’s entries. (The EOS 5D Mark II will replace the 5D when current stock runs out.) Full-frame benefits include larger pixels for a given megapixel count, larger and brighter viewfinders, and lenses that frame just as they do on a 35mm SLR. Full-frame disadvantages include cost and no “telephoto” factor for sports and wildlife photographers.

Bit Depth. More cameras are going to 14-bit A/D conversion. JPEG images are 8-bit, with 256 gradations from white to black. RAW 12-bit images have 4096 gradations, and 14-bit images have 16,384. This produces much smoother gradations and more natural colors, and gives you much more “headroom” for using Levels and Curves corrections in Photoshop.

Image Processors. New image processors deliver quick operation with big image files, better image quality and higher ISOs. While the ISO 25,600 figures settable with some cameras might be more hype than useful, image quality at all ISO settings is much better than it was even a year or two ago, and ISO 1600, 3200 and even 6400 are quite usable with some cameras. Improved noise-reduction systems improve image quality at all speeds.

Anti-Dust Measures. Olympus introduced the Supersonic Wave Filter in its first D-SLR, the E-1, back in 2003. This clever device uses supersonic vibrations to effectively remove dust from the image sensor. Today, most D-SLRs offer a similar feature. There also are dust-repelling coatings on the low-pass filter covering the sensor, and even features that map dust and automatically remove it with software in your computer.

Image Stabilization. Canon introduced the first SLR lens with a built-in image stabilizer back in 1995, and Minolta gave us the first D-SLR with sensor-shift stabilization in 2003. Now, Canon, Nikon, Leica/Panasonic, Sigma and Tamron offer stabilizer lenses, and Olympus, Pentax, Samsung and Sony offer D-SLRs with sensor-shift stabilization. In-lens stabilization stabilizes the viewfinder image as well as the recorded one and can be optimized for each lens design; but you need the stabilized lenses to get it. Sensor-shift stabilization works with all lenses, but stabilizes only the recorded image, not what you see in the finder. Both systems are effective and a boon to those shooting handheld.

Pentax K20D
While rumors of a new full-frame Pentax model have been circulating for a while, for now at least, the K20D is the company’s top D-SLR model—and a good one it is. It shares a 14.6-megapixel Samsung/Pentax APS-C-format CMOS sensor with Samsung’s GX-20, although each camera uses its own image-processing system, so the images are a bit different.

The K20D’s weather-resistant, dustproof body incorporates a 2.7-inch, 230,000-dot LCD monitor with Live View capability. You can focus manually on a magnified image during Live View or use the camera’s standard phase-detection AF system (which momentarily disrupts the live view while the camera focuses). Autofocusing is quick and smooth with the high-end SDM lenses and can handle quick action. Battery life is very good, even with the Shake Reduction system in constant use.

Sensor-shift Shake Reduction counters handheld camera shake and works with all lenses. There’s also a system that vibrates dust off the image sensor assembly, along with a new fluorine SP coating that helps keep dust off the low-pass filter in the first place; this also worked very well in our testing. Other features include a PC socket for studio flash and an interval timer for time-lapse sequences.

Pentax recently dropped the price to $999, which makes the K20D a bargain backup camera.

Key Specs
Sensor: 14.6-megapixel CMOS Format: 23.4x15.6mm (1.5x) Storage: SD/SDHC A/D Conversion: 12-bit Max. Drive Rate: 3 fps LCD: 2.7-inch, 230K-dot with Live View AF: 11-point	Metering: 16-segment, CW, spot ISO Range: 100-1600, plus 3200 and 6400 Dimensions: 5.6x4.0x2.8 inches Weight: 25.2 ounces Estimated Street Price: $999

Samsung GX-20
The Samsung GX-20 and Pentax K20D are very similar, though not exactly the same. (The two differ primarily in image processing, interface design and menu navigation.) The GX-20’s 14.6-megapixel sensor, manufactured by Samsung and codeveloped with Pentax, uses an Enhanced Digital Filter for improved dynamic range and 5 micron pixels for minimizing the gaps between diodes to provide more efficient light capture.

Unique to the GX-20 (aside from the Pentax K10D/K20D and the GX-10), a Sensitivity Priority mode automatically selects the appropriate aperture and shutter speed for the ISO you’re currently using. Conversely, the Shutter & Aperture Priority mode automatically selects the best ISO from your shutter and aperture combination. Optical Picture Stabilization (OPS), up to four stops, is built into the body, saving money in the long run by keeping new-lens costs minimal and providing compensation for compatible lenses. An Anti-Dust coating and Dual Dust Removal keep the camera debris-free by using a vibration mechanism to shake dust loose and a special coating to trap it. Including the shutter button, the construction of the body itself is moisture- and dust-resistant for further protection.

The 2.7-inch TFT LCD provides Live View coverage and a wide angle of view, while the Glass PentaPrism provides a 95 percent field of view with 0.95x magnification. A few of the other features include 100K-stepped white balancing for more accurate tonal control, a My Settings mode for quickly choosing preselected modes of shooting, and a multiexposure function for providing two to nine exposures in-camera on one frame. There’s also internal support for the Adobe DNG system of RAW files.

Key Specs
Sensor: 14.6-megapixel CMOS Format: 23.4x15.6mm (1.5x) Storage: SD/SDHC A/D Conversion: 12-bit Max. Drive Rate: 3 fps LCD: 2.7-inch, 230K-dot with Live View AF: 11-point	Metering: 16-segment, CW, spot ISO Range: 100-1600, plus 3200 and 6400 Dimensions: 5.6x4.0x2.8 inches Weight: 25.2 ounces Estimated Street Price: $1,100

Sony DSLR-A700
Sony’s DSLR-A700 features a design reminiscent of Konica Minolta’s D-SLR, the Maxxum 7D. This isn’t too surprising, since Sony bought Konica Minolta’s technologies in 2005 and has based the successful Alpha series largely on them. The 12.2-megapixel Exmor APS-C CMOS image sensor has incredibly low noise, thanks to double noise elimination performed both before and after A/D conversion.

Sony has integrated SteadyShot INSIDE image stabilization into the body of the A700, making it compatible not only with current Alpha series lenses, but also with the optics of Alpha lens mounts from Minolta and Konica Minolta, with approximately 2.5 to 4 stops of compensation. Other features include an Eye-Start Autofocus System, Creative Style settings for a variety of enhanced image styles, and construction that includes static-free and anti-dust coatings and anti-dust vibration coupled with a tough magnesium-alloy body, making it an ideal backup in the field.

First seen in the A100, the Dynamic Range Optimizer is the A700’s most notable feature, providing in-camera high dynamic range for securing detail in dark and bright areas in the same exposure. Standard mode uses gamma curves for subtle improvement in shadow detail, while the Advanced Auto mode lets you choose any of five correction levels of intensity. DRO Advanced Bracketing offers an alternative route by automatically taking three shots at differing exposure levels with a single shutter press for alignment later.

Key Specs
Sensor: 12.24-megapixel Exmor CMOS Format: 23.5x15.6mm (1.5x) Storage: CF (I & II), MS (Duo, PRO Duo, PRO-HG ) A/D Conversion: 12-bit Max. Drive Rate: 5 fps LCD: 3.0-inch TFT	AF: 11-point Metering: TTL 40-segment honeycomb-pattern SPC ISO Range: 100-3200, up to 6400 expanded Dimensions: 5.6x4.3x3.3 inches Weight: 24.34 ounces Estimated Street Price: $1,299

Nikon D90
The D90 joins Nikon’s mid-level D80 which is still available. The D90 was the first digital SLR (by a nose) to be able to capture HD video. The exact specs are 720p (1280 x 720 pixels), with mono sound via a built-in microphone. The new D-Movie Mode is an extension of the D90’s Live View feature, which lets you compose images via the 3.0-inch, 920,000-dot LCD monitor. While it lacks the D300’s Handheld live mode (which uses phase-detection AF), the D90 provides three contrast-detect AF modes: wide-area, normal-area and Face detect (you also can focus manually).

Other notable D90 features include a 12.3-megapixel DX-format CMOS sensor (APS-C-sized) similar to the one in the D300, an effective sensor-cleaning system, an 11-point autofocus system with Face Priority, 3D Color Matrix Metering II with a Scene Recognition System that computes 30,000 different photographic scenes for exposure accuracy, a continuous shooting mode of 4.5 fps, Active D-Lighting and a wide range of In-Camera Image Editing features, including fisheye effect and a straighten and distortion control. The D90 also has low noise sensitivity from 200 to 3200 and various exposure options for full manual control.

Key Specs
Sensor: 12.3-megapixel CMOS Format: 23.6x15.8mm (1.5x) Storage: SD/SDHC A/D Conversion: 12-bit Max. Drive Rate: 4.5 fps LCD: 3.0-inch, 920K-dot with Live View AF: 11-point	Metering: 3D Color Matrix II, 75% CW, 2% spot ISO Range: 200-3200, Dimensions: 5.2x4.1x3.0 inches Weight: 22 ounces Estimated Street Price: $1,000

Panasonic Lumix DMC-L1
The Lumix DMC-L1 was Panasonic’s first foray into the D-SLR market a couple of years ago and still remains an attractive camera for the professional photographer. It utilizes the Four Thirds Live MOS image sensor (the same as Olympus), has a resolution of 7.5 megapixels and a body style that’s reminiscent of a retro rangefinder camera with traditional exposure controls. The DMC-L1 was one of the first digital SLRs to use Live View and the first to have a Leica lens designed specifically for the camera. The camera feels like an older analog model, with a lever-operated light-metering mode and one for the motordrive. It also has an effective dust-removal system.

Live View operation with the 2.5-inch LCD monitor lets you focus manually or use the camera’s standard phase-detection AF system (which briefly disrupts the live view as the mirror flips down for focusing). The Leica D Vario-Elmarit 14-50mm ƒ/2.8-3.5 lens sold with the L1 incorporates Optical Image Stabilization (O.I.S.) for steadier handheld shooting. The L1 churns out a nice dynamic range with its low-consumption Live MOS sensor. The DMC-L1 also features shutter speeds from 60 to 1⁄4000 sec., plus B, a built-in flash and easy operation.

Key Specs
Sensor: 7.5-megapixel Live MOS Format: 17.0x13.0mm (2.0x) Storage: SD/SDHC A/D Conversion: 12-bit Max. Drive Rate: 3 fps LCD: 2.5-inch with Live View	AF: 3-point Metering: 49-zone (256 in Live View) ISO Range: 100-1600 Dimensions: 5.7x3.4x3.1 inches Weight: 18.7 ounces Estimated Street Price: $900

Sony DSLR-A900
The Sony DSLR-A900 is the big brother of the A700. The A900 brings the Alpha line up to full frame with a 24.6-megapixel Exmor CMOS sensor that can provide images at up to 6048 x 4032 resolution. The sensor’s on-chip A/D signal conversion provides faster image processing and improved noise reduction and, as in the A700, extra noise reduction is performed during image processing.

Many other features are carryovers from the A700, including the Advanced Dynamic Range Optimizer, in-camera SteadyShot INSIDE image stabilization (a first for full-frame D-SLRs), an Alpha lens mount for compatibility with Alpha and Konica Minolta/Minolta Maxxum-compatible lenses, and Bionz Image Processing (though Sony was able to make the jump to full-frame by giving the camera dual processors). New features include a Quick Navi interface for swiftly accessing frequently used settings, and an Intelligent Preview function for applying the effects of selectable functions like white balance and exposure to an LCD preview before you’ve taken the shot.

Key Specs
Sensor: 24.6-megapixel Exmor CMOS Format: 35.9x24mm (full-frame) Storage: Memory Stick Duo, Memory Stick PRO Duo, Memory Stick PRO-HG Duo, CompactFlash and Microdrive A/D Conversion: 12-bit Max. Drive Rate: 5 fps LCD: 3.0-inch, 921K-dot AF: 9-point, with 10 Assist points	Metering: 40-segment honeycomb, CW, spot ISO Range: 200-3200, expandable to 100-6400 Dimensions: Approx. 6.0x4.5x3.25 inches Weight: 29.98 ounces Estimated Street Price: $2,999

Backup D-SLRs
Canon EOS 50D
The EOS 50D ups its predecessor’s resolution by 50 percent (15.1 megapixels vs. the EOS 40D’s 10.1) while retaining nearly the same shooting speed (6.3 fps vs. 6.5 for the 40D). Canon’s new DIGIC 4 image processor provides speedy operation along with finer image detail and more natural colors, while 14-bit A/D conversion produces four times as many steps from white to black as 12-bit conversion. The 50D sports the same new 3.0-inch, 920,000-dot LCD monitor as the new EOS 5D Mark II, with the same Live View capabilities (except HD video). An improved sensor-cleaning system adds an anti-dust fluorine coating to the low-pass filter over the sensor. The AF and metering systems are the same as the EOS 40D’s.

With a UDMA CompactFlash card, you can shoot 6.3 fps bursts of up to 90 Large/Fine JPEGs (up to 60 with a standard CF card), or up to 16 RAW images, at full 15.1-megapixel resolution. There are three RAW formats: full-resolution (4752 x 3168 pixels), sRAW 1 (3267 x 2178 pixels) and sRAW 2 (2376 x 1584 pixels). The two small RAW formats work out to 7.1 and 3.7 megapixels, respectively, ideal for photojournalistic work.

The DIGIC 4 processor provides quick operation despite the big 15.1-megapixel file size, more efficient power consumption for Live View operation and finer image detail with better color reproduction than the EOS 40D’s DIGIC III. The 50D provides a normal ISO range of 100-3200, expandable to 6400 and 12,800.

An especially nice feature of all midrange EOS D-SLRs is the ability to set exposure compensation merely by rotating the big Quick Control dial on the camera back—no need to fumble around for an exposure-compensation button and a small dial to do the deed.

Key Specs
Sensor: 15.1-megapixel CMOS Format: 22.3x14.9mm (1.6x) Storage: CF (UDMA-compliant) A/D Conversion: 14-bit Max. Drive Rate: 6.3 fps LCD: 3.0-inch, 920K-dot with Live View	AF: 45-point Metering: 35-zone, 9%, 3.8%, CW ISO Range: 100-3200, plus 6400 and 12,800 Dimensions: 5.7x4.2x2.9 inches Weight: 25.7 ounces Estimated Street Price: $1,399

Nikon D300
The Nikon D300 was introduced at the same time as the D3 and features much of the same technology, but with a 12.3-megapixel DX-format (APS-C) CMOS sensor and a more compact body—and a much lower price. The D300 shares fast 51-point autofocusing, with focus tracking by color, an improved 1,005-pixel 3D Color Matrix Metering II system for intelligent autoexposure, selectable 12-bit or 14-bit A/D conversion, and a 3.0-inch, 920,000-dot LCD monitor with two Live View modes (Handheld with phase-detection AF and Tripod with contrast-detect AF). The D300 shoots continuously at 6 fps (8 fps with optional battery grip), and it has a very usable ISO scale with high signal-to-noise ratios from 200 to 3200 (100 and 6400 also are available).

The D300 has some features the D3 doesn’t have, like a self-cleaning sensor unit and a built-in flash. It also shares with other recent Nikon D-SLRs the versatile Picture Control System. This provides four basic settings—Standard, Neutral, Vivid and Monochrome—which can be customized as to sharpening, tone compensation, brightness and saturation. You even can create your own Picture Control settings and transfer them to other compatible Nikon D-SLRs.

Key Specs
Sensor: 12.3-megapixel CMOS Format: 23.6x15.8mm (1.5x) Storage: CF (UDMA-compliant) A/D Conversion: 14-bit or 12-bit Max. Drive Rate: 6 fps LCD: 3.0-inch, 920K-dot with Live View AF: 51-point	Metering: 1005-pixel 3D Color Matrix II, adjustable CW, 2% spot ISO Range: 200-3200, plus 100 and 6400 Dimensions: 5.8x4.5x2.9 inches Weight: 29.3 ounces Estimated Street Price: $1,600

Olympus E-3
When the E-3 was first announced in October of 2007 as the successor to the Olympus flagship model, the E-1, there had been four years in between to build anticipation for photographers invested in the Four Thirds System of optics. The Four Thirds System, developed mainly by Olympus and Kodak, had piqued interest thanks to its “Digital Specific” design, with sensors that were even smaller than APS type, effectively doubling focal magnifications.

The E-3 took the Four Thirds to the next level with a marketing strategy aimed squarely at the advanced amateur making the step up to pro. Olympus has been a pioneer in the digital realm, the first to offer Live View on a D-SLR, as well as in-camera dust reduction. The tradition was improved upon with the E-3. A rotating, dual-axis articulating Live View LCD provides easy framing from any angle, even 180 degrees for self-portraits, especially accurate thanks to the 100% coverage provided by the LCD screen, which is a trait shared by the 100% coverage of the optical viewfinder, as well.

One of the biggest criticisms of the E-1 was its autofocus, and Olympus spent a lot of time and energy developing the new E-3 11-point autofocus, claiming it upon initial release to be the fastest system available when paired with the concurrently developed Zuiko ED SWD 12-60mm ƒ/2.8-4.8 lens. Dust reduction with the Supersonic Wave Filter also has been carried over, and a few of the other notables include In-Body Mechanical Image Stabilization for up to five stops of compensation with all lenses and a weather-resistant, sealed magnesium-alloy body.

Key Specs
Sensor: 10.1-megapixel Live MOS Format: 17.3x13.0mm (2.0x) Storage: CF (I & II), Microdrive, xD-Picture Card A/D Conversion: 12-bit Max. Drive Rate: 5 fps LCD: 2.5-inch, tilting/rotating with Live View	AF: 11-point Metering: 45-point, CW, spot ISO Range: 100-3200 Dimensions: 5.6x4.58x2.9 inches Weight: 28.68 ounces Estimated Street Price: $1,699

Fujifilm FinePix S5 Pro
The Fujifilm FinePix S5 Pro packs a lot of features into its package, and of most interest to pros is how ideal the camera is for portraiture. Featuring five Film Simulation Modes, presets include a variety of styles for mimicking the film-esque organic appeal of standard portraiture, including selections for warm natural skin tones with higher saturation of blue, vivid blue (ideal for saturated skies) with silky skin tones, a standard studio photography setting, and a highly modulated mode for heightening contrast while maintaining natural skin tones. A Fujichrome preset also is included for replicating the feel of color-reversal film, and the Face Zoom function is useful as well, automatically zeroing in on and enlarging facial details on the LCD monitor for checking focus and shadow detail.

The twofold photodiode matrix of the Super CCD SR Pro sensor is unique. With 6.17 million diodes each, the sensor is comprised of equal amounts (6.17 million) of S- and R-pixels. The S-pixels feature a large light-reception area for high sensitivity; the design of the R-pixels provides a wider dynamic range by filling in the gaps between the S-pixels. The combined effective pixel count produces a 12.3-megapixel sensor with a very wide dynamic range of 400%, near that of negative film. Thanks to this design, extended dynamic range settings can be set to match conditions in a selection of six steps: 100% (STD), 130%, 170%, 230% (W1), 300% and 400% (W2).

Other features include an optical low-pass filter to minimize moiré while maintaining a high signal-to-noise ratio, further noise reduction from the Double Noise Reduction of the RP (Real Photo) Processor Pro, and 3D Color Matrix Metering, which uses the 1005-pixel RGB sensor to detect highlight area size for calculating optimum exposure.

Key Specs
Sensor: 12.3-megapixel Super CCD SR Pro Format: 23.0x15.5mm (1.5x) Storage: CF (I & II) and Microdrive A/D Conversion: 14-bit Max. Drive Rate: 3 fps LCD: 2.5-inch, 235K pixels	AF: 11-point Metering: 3D Color Matrix Metering II via 1005-segment RGB sensor ISO Range: 100-3200 Dimensions: 6.7x4.4x2.9 inches Weight: 29.3 ounces Estimated Street Price: $899

Nikon D700
Featuring the same 12.1-megapixel full-frame CMOS sensor as the D3 in a more compact, lighter and much lower-priced body, the D700 also shares much of its “big brother’s” technology, including the EXPEED processing and wide range of ISO settings. The metering and AF systems are the same as the D3’s, as are the Active D-Lighting and 3.0-inch, 920,000-dot LCD monitor with Handheld and Tripod Live View modes. As with the D3, the live image can be sent to a computer, and the camera operated from there, using optional Nikon Camera Control 2 software.

Nikon’s second full-frame D-SLR even includes a couple of features the D3 doesn’t have: a built-in Speedlight flash unit and a dust-reduction system that uses four different resonance frequencies to remove dust from the sensor assembly. While not quite as rugged as the D3, the D700 is nonetheless of pro quality, including a body made completely of magnesium alloy and well sealed against weather and dust, and a shutter tested to 150,000 cycles. The D700 also has a top burst rate of 5 fps vs. the D3’s 9 fps at full resolution.

Like the D3, the D700 has very little noise introduced in images when using ISO 200-6400 because of the larger photosites utilized on its image sensor, making the D700 a professional camera that rivals Nikon’s D3, but at a smaller price.

Key Specs
Sensor: 12.1-megapixel CMOS Format: 36.0x23.9mm, (FX-format full-frame) Storage: CF (UDMA-compliant) A/D Conversion: 14-bit or 12-bit Max. Drive Rate: 5 fps LCD: 3.0-inch, 920K-dot with Live View AF: 51-point	Metering: 1005-pixel 3D Color Matrix II, CW, 1.5% spot ISO Range: 200-6400, plus 100, 12,800 and 25,600 Dimensions: 5.8x4.8x3.0 inches Weight: 35 ounces Estimated Street Price: $3,000

Nikon D3
The D3 was the first ever full-frame model in Nikon’s D-SLR lineup and has quickly become one of the most formidable cameras in the market. Top features include an FX-format, 12.1-megapixel CMOS sensor, an extremely quick 51-point AF system, a maximum burst rate of up to 9 fps at full resolution, and a high-res 3.0-inch, 920,000-dot LCD monitor with two Live View modes. The CMOS sensor contains very large photosites that enhance the low-light performance of the D3, allowing higher ISOs with much less noise being introduced into the frame. Other features of interest include Active D-Lighting Technology where highlight and shadow correction is applied automatically, a Scene Recognition System with the 1,005-pixel 3D Color Matrix Metering II sensor that analyzes colors and light patterns to recognize what sort of image is being shot to improve its autofocusing, superquick 0.12-second startup and dual CompactFlash-card slots.

Another unique function is that the D3 automatically switches to a cropped 5.1-megapixel DX-format mode when a DX-Nikkor lens is attached, so you can use the DX lenses as well as full-frame ones. An added bonus: The top burst rate goes up to 11 fps in DX crop mode. The D3 was also the first D-SLR to have a virtual horizon graphics indicator that gives you an accurate reading of your frame’s horizon level, either through the LCD or the viewfinder.

Key Specs
Sensor: 12.1-megapixel CMOS Format: 36.0x23.9mm (FX-format full-frame) Storage: CF (UDMA-compliant) A/D Conversion: 14-bit or 12-bit Max. Drive Rate: 9 fps LCD: 3.0-inch, 920K-dot with Live View AF: 51-point	Metering: 1005-pixel 3D Color Matrix II, adjustable CW, 1.5% spot ISO Range: 200-6400, plus 100, 12,800 and 25,600 Dimensions: 6.3x6.2x3.4 inches Weight: 42.5 ounces Estimated Street Price: $4,500

Mid-Level D-SLRs

Canon EOS 5D Mark II
One of the most exciting introductions of the last year, Canon’s long-awaited EOS 5D successor matches the top-of-the-line EOS-1Ds Mark III’s resolution with a new 21.1-megapixel full-frame Canon CMOS sensor in a smaller, lighter body that costs nearly $5,000 less. The new sensor features a new RGB filter, four-channel readout, better sensitivity, lower noise and lower power consumption than the EOS-1Ds Mark III’s. That and the new DIGIC 4 image processor help deliver what Canon calls the best image quality of any EOS camera. ISOs now go as high as 25,600, with a normal range of 100 to 6400. AF and metering systems are the same as the original EOS 5D—we found them to be very good, but not as good as the EOS-1Ds Mark III’s.

The 5D Mark II’s new 3.0-inch, 920,000-dot LCD monitor (4x the resolution of the original 5D and the flagship EOS-1Ds Mark III) offers Live View capability, including 1920 x 1080p HD video shooting, with mono sound via a built-in microphone or stereo sound via an external stereo mic. Search the web for “Vincent Laforet Reverie” for an example of what this camera can do, video-wise. The Mark II also offers three still Live View AF modes. Quick Mode AF uses the camera’s normal phase-detection AF system, but momentarily disrupts the live view while the mirror flips down so the camera can focus. Live Mode AF uses compact-style contrast-detection AF, with no disruption. Quick is good for action and handheld shooting, while Live is great for tripod-mounted studio and landscape work. And Face Detection AF can detect up to 35 faces in a scene and adjust focus to get them all as sharp as possible. You also can focus manually, zooming the image 5x or 10x. With a USB cable (or wirelessly, with the optional wireless controller unit), you can run the live image to a computer monitor and run the camera from the computer via provided software.

Key Specs
Sensor: 21.1-megapixel CMOS Format: 36x24mm (full-frame) Storage: CF (UDMA-compliant) A/D Conversion: 14-bit Max. Drive Rate: 3.9 fps LCD: 3.0-inch, 920K-dot with Live View and HD Video modes	AF: 9-point, plus 6 Assist points Metering: 35-zone, 8%, 3.5%, CW ISO Range: 100-6400, plus 50, 12,800 and 25,600 Dimensions: 6.0x4.5x3.0 inches Weight: 28.6 ounces Estimated Street Price: $2,699

High-End D-SLRs

Canon EOS-1Ds Mark III
Last year, the EOS-1Ds Mark III was our king of the D-SLRs with its 21.1-megapixel full-frame image sensor. It’s still a terrific camera, but has seen its megapixel count topped by Sony’s 24.6-megapixel DSLR-A900 and its image quality surpassed by its own “kid brother,” the new 21.1-megapixel EOS 5D Mark II. Considering that the Mark II costs substantially less and throws in HD video capability to boot, the question might arise: “Why the EOS-1Ds Mark III?”

Well, two main reasons: The top-of-the-line EOS-1Ds Mark III is a far more rugged camera, with a 300,000-cycle shutter (vs. 150,000 for the 5D Mark II), pro-level dust and moisture sealing, and dual memory-card slots. The EOS-1Ds Mark III also offers better performance, with more advanced AF and metering systems, and faster shooting (5 fps vs. 3.9 fps for the Mark II). Add a 2x teleconverter to an ƒ/4 lens, and the resulting ƒ/8 combo won’t autofocus with the EOS 5D Mark II, but will with the EOS-1Ds Mark III—a big advantage for those who need long focal lengths, and especially important in a full-frame camera that doesn’t provide a smaller sensor’s “telephoto” factor.

Dual DIGIC III image processors working in parallel contribute to the speed and image quality. The Mark III can shoot up to 56 full-resolution JPEGs or 12 RAW images at 5 fps, and it has essentially the same AF system as the EOS-1D Mark III action camera, so it’s well suited to action work as well as studio and landscape photography.

Key Specs
Sensor: 21.1-megapixel CMOS Format: 36x24mm (full-frame) Storage: CF (UDMA-compliant) and SD/SDHC A/D Conversion: 14-bit Max. Drive Rate: 5 fps LCD: 3.0-inch, 230K-dot with Live View	AF: 45-point (19, plus 26 Assist) Metering: 63-zone, 8.5%, 2.4%, CW ISO Range: 100-1600, plus 50 and 3200 Dimensions: 6.1x6.3x3.1 inches Weight: 42.5 ounces Estimated Street Price: $7,295

Canon EOS-1D Mark III
The EOS-1D Mark III offers great speed and terrific image quality. It shoots 10.1-megapixel images at a remarkable 10 per second (in bursts of up to 110 full-res JPEGs or 30 RAW images), but as many photographers use it for its image quality as for its speed. Due, in part, to large pixels (10.1 megapixels on an APS-H-format sensor work out to a pixel pitch of 7.2 microns compared to 6.3 microns for the full-frame EOS-1Ds Mark III’s), in part, to the dual DIGIC III image processors and, in part, to 14-bit A/D conversion, the EOS-1D Mark III’s image quality is superb to ISO 1600 and beyond.

AF performance is excellent. It’s seriously rugged like all 1-series EOS pro cameras, with a magnesium-alloy body and chassis, excellent dust- and waterproofing, and a 300,000-cycle shutter. A Self-Cleaning Shutter mechanism uses ultrasonic vibrations to remove dust from the sensor assembly, and the Dust Delete Data feature maps and records the locations of any remaining dust, then removes it automatically with the provided Digital Photo Professional software.

Like the full-frame Mark III, the EOS-1D Mark III has a 3.0-inch, 230,000-dot LCD monitor with Live View capability, albeit with manual focusing only. You can enlarge the live image 5x or 10x for fine focusing control. With a USB cable (or wirelessly via the optional WFT-E2A wireless file transmitter), you can display the live image on a computer monitor and operate the camera from there via the provided EOS Utility software. The camera has slots for CompactFlash and SD cards, and you also can record images to external USB hard drives.

Key Specs
Sensor: 10.1-megapixel CMOS Format: 28.1x18.7mm (1.3x) Storage: CF and SD/SDHC A/D Conversion: 14-bit Max. Drive Rate: 10 fps LCD: 3.0-inch, 230K-dot with Live View	AF: 45-point (19, plus 26 assist) Metering: 63-zone, 13.5%, 3.8%, CW ISO Range: 100-3200, plus 50 and 6400 Dimensions: 6.1x6.2x3.1 inches Weight: 40.7 ounces Estimated Street Price: $4,199

BoatQuay 2ndWkMay2009

2009-05-11T06:52:00.001+08:00

Model PhotoShoot Melissa

2009-04-28T15:55:00.000+08:00

Picture post processing

2009-04-15T13:16:00.004+08:00

This is still being debated to how much you go to pp a picture. A film user might have the choice of film ASA and do pp also in the darkroom but now the line is thin. See for yourself the difference a pp make to a picture. After pp and before pp (RAW file). All pictures taken using Nikon D700.
Before (RAW File) and after PP

How to spot Fake CF and SD Memory Cards

2009-04-15T12:45:00.006+08:00

Which one is fake? the one on the right or left?Look more or less the same right?

Please check here for more info here. Usually in Brunei, price matters but the if you work on a critical project and your WORK depends on it, will you think twice?
In Brunei the usual place for ..ahem..things is BIT or Ling Ling Computer at Qlap and Yayasan. Maybe some other place also same. I dont know.

Purpose
As fake memory cards have now proliferated throughout the marketplace, it is important to be able to spot a fake. This page includes methods to spot fakes, and examples of fake cards.

Why should you care?

Inferior quality card - you’re not getting what you paid for
No warranty - when the card fails, you’re out of luck
Fake cards sometimes have invalid partition sizes, making it likely to fail
It will drive costs of genuine cards up

Spotting a fake
Unfortunately there is no software which will test the card, and ensure that it’s genuine. You must manually scrutinise your card, (both visually and by testing it’s performance), to get some idea of it’s genuinity.

Presentation quality and differences

First thing to look for is poorly printed labels and material; most fake cards have slight differences from the real deal. Most manufacturers have a page where you can download high resolution pictures of their cards.

Wedding Video

2009-04-14T02:59:00.004+08:00

Welcome to Isaryan Studios,

We are currently doing a similar project for our clients here in Brunei. Let us know if you are interested.

Yes!! it can be done using specialized software. Please remember that each client has her/his own expectation.

The wedding video

Isaryan Studios at your service

2009-03-23T12:50:00.003+08:00

The Wedding Diary Asia 2009

2009-03-21T11:36:00.002+08:00

Hi there,

isaryan studios crews will be visiting the booths there at Suntec this March and hopefully we can enjoy more networks and friends, as well as getting the buzz and trends in the wedding photography and videography arena.

See you there..

Ryan
Creative Consultant
Isaryan Studios

How to become a successful wedding photographer

2009-02-27T10:33:00.001+08:00

Some guide for wedding photographers, not just for beginners, if you know what I mean,

1. Learn photography before anything else. A wedding photographer is expected to be a master of the craft. You will be in charge of capturing people's most precious life moments. The wedding day is not the place to learn photography.

2. Just because you got a brand new camera it does not automatically make you an effective and reliable photographer. Photography goes beyond cool toys and gadgets. Learn composition and develop a unique artistic vision. Some of the great photographs of all time were taken with manual cameras.

3. Master the digital workflow, including color management, digital image processing, file management and image correction and enhancement.

4. Learn to love photography more than anything else. Don't come to the wedding photography field with just dreams of making money. It is true that there are many successful wedding photographers that make a lot of money.

5. Focus on delivering quality more than quantity. Seek with all your heart to capture unique photographs.

6. Develop a style that is recognizable and unique. Don't try to be like somebody else. Clients look for unique photographers, with a unique vision.

7. Give wedding photography all your heart and effort. Long when you are gone your photographs will last forever. It is a great way to be remembered.

8. Open your heart and your mind and great photos will happen. Concentrate on the human aspect of weddings, the details, and emotions and be ready to capture them. Let the camera become an extension of you.

9. Share your technical knowledge and make connections with other wedding photographers.

10. Participate in wedding photography image competitions. It will give you the opportunity to have your work evaluated by peers and the motivation to improve your work quality.

11. Learn something new everyday. Take advantage of professional photography organizations such as WPJA (not necessarily good  coz you pay!!). Attend their seminars, workshops. Participate in Internet wedding photography forums and learn and share tips, tools and techniques.

12. Don't neglect the business aspect of wedding photography. Learn to manage your business effectively. Take business courses and seminars.

Booking FAQs for Isaryan

2009-02-01T14:48:00.002+08:00

Q1. How far in advance do we have to book you?

Generally we begin booking 9 - 12 months in advance of a wedding event. Please do not hesitate to call for an event that is just around the corner, we have booked events in the past very close to the date of the event.

Q2. How can we reserve our wedding date, what is your policy?

Often we will have multiple inquiries for specific dates and in order to make things easier for everyone, we have a first come first serve policy regarding event bookings.

Q3. How do we arrange for a consultation with you to view your work in person and to discuss our specific wedding needs?

We offer a no-obligation, personal consultation for each couple who is considering us for their wedding photography. Please contact us for available times and we will make arrangements for us to meet up. Weekday evening hours (7:00pm to 9:00pm) are usually popular time slot for consultations. Limited weekend time slots are also available for consultations.

During the consultation, you will be able to view samples of our work, including several assembled wedding albums showing end-to-end coverage of weddings we have photographed. We will spend some time discussing your specific wedding plans, after which you should be able to determine if we offer what you are looking for. We will go over our price list and packaging options, answering any questions you might have about choosing the right package for your needs.

After the consultation, we do not put any pressure on couples to book with us. You may, of course, book with us immediately after the consultation if you wish. Our usual advice to couples, however, is to meet with us first, talk things over between yourselves, and then make your decision.

We realize that most couples wish to consult with more than one wedding photographer before making their final decision, and we are confident that if you are pleased with our work, our prices, and our personalities, you will give us strong consideration in your final decision.

Q4. We would like to reserve our date for wedding photography. What should we do next?

To reserve your date, we require a signed contract with a deposit equaling <50% of your desired package. The remainder of the balance shall be paid upon full submission.

General FAQs about Isaryan

2009-02-01T14:41:00.003+08:00

Q1. What is your photographic style?

I practice wedding photojournalism (also called documentary or reportage photography), which is "capturing" the image, not "creating" it. My objective is to tell the story of the wedding using the camera. I like to set up as few shots as possible, remaining unobtrusive. I like to photograph people, emotions, and the details of your wedding day. All you need to do for most of the day is to act naturally and enjoy being the centre of attention.

Q2. Where are you located, and do you charge travel costs?

I'm based in Brunei. Weddings within Brunei will not incur any costs, however, oversea's travel and weddings that may require an overnight stop would have to be discussed. Please contact me for more information.

Q3. We want something contemporary but our parents want some traditional posed photos too. Can you do both?

Yes I can - I enjoy documentary style and informal portraits, but I am also properly equipped and experienced enough to take simple posed group portraits, synonymous with traditional wedding photography.

Q4. Do you shoot digital or film?

I have been using digital cameras since their introduction and is very experienced in the way they work. Shooting digitally enables me to work a lot faster and gain a lot more photos than would be possible on film. The average wedding would generate between 400 - 500 images for you to choose from and you can enjoy the digital images in various forms without scanning, as screensaver, wallet picture etc.

Q5. What type of equipment do you use to photograph weddings?

I use professional both Canon digital and Nikon digital products (2 1Ds MkIII and 2 5D MkII plus several Canon Primes).As to maintain consistency for all wedding photo results, Apple Professional System is used (3 Intel MacBook Pros, 2 24" IMacs, Aperture 2 and Photoshop CS4 editing suites)

Q6. Do you carry backup equipment?

Yes I do. It is always good to be better prepared for any situation.

Q7. Can you digitally retouch my photos?

Absolutely. We want you to be thrilled with every part of your story - that's why we offer retouching as an integral part of our photography services. We will do minor photo retouching of digital images to enhance the photos. This will include color correction, cropping, straightening, red-eye correction and enhancing the detail and lighting when needed.

Wedding Photobooks..choices..choices

2009-01-31T01:17:00.003+08:00

Welcome to isaryan studios.

Some of the things that i learn in my work as a wedding.event photographer is presentation. Do not underestimate the importance of having your wedding or special events pictures presented in the best way. DVDs, music videos, wedding photo books..we have it here at isaryan.

However, our pursuit of perfection and excellence always bring us to either Japan, USA, UK or Italy. Printerku at the Mall offer an economical albeit mediocre quality product, we sometimes need to reprint because of lines appearing during printing and inconsistent color reproduction. We just wonder whether they have QC or not. If you like Printerku, by all means please. Just reflecting our own real experience.

So now, we have found a new wedding photobook provider. GraphiStudio (Italy). So, at the moment, we are giving a special treatment for our prospective clients for our new venture with GraphiStudio.

They are here and experience the best WITH value from isaryan.

Ryan
Principal Photographer

Isaryan Preview 2009

2009-01-20T00:18:00.003+08:00

5 tips for photographing babies from CnetAsia

2009-01-18T00:39:00.005+08:00

We all probably had the experience of coo-ing over a picture of a baby, whether it's a friend's or relative's. But often than not, these photographs are unflattering--harsh flash creates distracting shadows and honestly, do we really want a shot of wailing baby who's shocked by all the attention paid to him suddenly? Unlike children or adults who know you are taking pictures, babies won't give a hoot to the weird man holding a box-like device. But there ways to get lovely pictures of infants--here are five simple tips.

1) Here's looking at you, babe
It's a good idea to squat or sit down so you're at eye level with the baby. This not only allows you to capture his attention, but also to let them feel less intimidated. Once the tot warm up to you (and your camera), he's more likely to be a better photo subject than say, a baby who's bawling.

2) Attention, attention!
Babies are easily distracted, and if you want them to look at the lens while you snap a shot, you got to capture their attention. One way is to hold their favorite toys (though you may run the risk of them crawling over to you) or have someone they are familiar with to be behind you.

3) Au natural
Some times the best shots are not posed. Letting the baby rest in the cot or playing with their favorite toys may provide good picture opportunities. This is probably when you don't want their attention. Keep a short distance away and let them roam and explore the world while you document it.

4) Light up their life
Harsh lighting is never flattering for any subjects. If you are using the onboard flash on your compact digicam, check if there are options to reduce the flash intensity. Alternatively, if you're taking a portrait, relocate the subject nearer to a subdued light source such as the window for more natural skin tone.

5) In your pocket always
Have a point-and-shoot with you always. Babies are unpredictable and may do something you'll want to record in pictures (or videos). For example, he may say his first word while you're filming him playing. Or when they get tired at the playground, you'll want a snap of your little angel resting on mummy's shoulder, right?

International Brides guides...

2009-01-05T23:22:00.003+08:00

If you like to see how other wedding couples plan their wedding and such, please click here and here. Enjoy... and looking forward to hearing from you.

Sincerely,

Ryan
Principal Photographer
Isaryan Studios
8191455

2009-01-05T23:01:00.003+08:00

No matter what the age, a first-day-of school photo is one of the best ways to mark the all-too-quick passing of childhood. I realize in many parts of the country the first day is a memory by now, but here in the East it falls after Labor Day. So here are a few tips from around the web on how to get a great shot you'll treasure for years to come.

* • Get the camera ready the night before. It's a busy, busy morning, so as this HP First Day of School photos guide suggests, make sure batteries are fresh, the memory card is not full, and the camera is where you'll need it on the way out the door.
* • Get the posed shots, but don't forget the candid ones. Again from HP, if you've got time, get some school prep shots—brushing teeth, filling backpacks, fixing hair (as long as your teen won't threaten you with a hot straightening iron.) If you've got more time, let them take photos of each other. Guaranteed, they'll be some of your favorite shots in years to come.
* • Don't shoot into the light. If it's a bright, sunny morning, make sure the sun is behind you and not your kids. As Christopher Null tells us, "Bright light floods the lens, and your camera usually can't compensate for it."
* These last three come from CanadianParents.com, and I like them all:
* • Measure the years. If you're just beginning to mark this milestone, pick one place at home or at school to take the shot annually to highlight how the kids are growing.
* • Think symbolic. My favorite shots from years past are of the kids from behind, walking to our elementary school with their backpacks and spankin' new sneakers.
* • Go on location. Photos at home are great, but get some at the school, in front of the building, at the playground, something that marks where they are on that exciting first day.

Before you take any photos, check out all of Null's tips for improving your digital camera shots. For more tips on photographing kids, check out this Shooting the Kids blog and, of course, Darren Rowse's Digital Photography School, a wonderful resource for photographers of all stripes.

Performance Based

2008-12-05T16:22:00.004+08:00

New products by isaryan studios

2008-01-04T12:49:00.003+08:00

isaryan now offers a great way to preserve and showcase your greatest moments. A photobook you can enjoy for years to come.

A book which sings the world the song of your heart

With million of digital photos trapped in computer hard drives around the world, sharing photos in a small screen doesn’t give your family and friends the opportunity to feel for it. Dragging photos out of your shoe boxes and later realized that you have lost the important pieces of your story could be exasperating and upsetting. Photo books are the next-generation of photofinishing which could help you solve all those problems.

We preserve your memories like no one else.

Commercial quality printing with Indigo 5000 Digital Offset Press
Papers are imported from the Italian paper manufacturer Fedrigoni
All Prints color managed by adopting European ISO Fogra 39 color space.
Professional look and durable hardcover give a unique finishing to book.

A very big thank you

2008-01-04T12:40:00.001+08:00

isaryan photography and videography would to convey their heartiest gratitude and thanks to prospective clients, brides and grooms for the year 2008. Looking forward to capturing the most beautiful days of your life.

Please be informed that isaryan is still accepting bookings. Dates are limited so please hurry.

Have a nice day.

Ryan
Principal Photographer
+6738191455

Wedding Photography 2008

2007-12-08T15:01:00.002+08:00

30% discount for all wedding photography bookings before end of December 2007. Terms and conditions apply.

Your happiest times..with isaryan

Call us now or email us at 8191455. Email isaryanstudios@gmail.com

Endless love Fionnah & Shariff

2007-11-27T08:25:00.001+08:00

A beautiful magical night for the lovely bride and groom. 11th November 2007, JPCC. Congratulations from isaryan!!

isaryan offers exclusive premium wedding photo books

2007-10-03T23:59:00.003+08:00

A picture speaks a thousand words. Ours worth millions

As of October 2007, in addition to isaryan's personalized professional wedding photography service, we are now offering exclusively premium and high quality personalized-one of a kind- in Brunei Wedding Photo Books and Coffee Table Books. Please call us now at 8208003 for more information and booking, or email us at isaryanstudios@gmail.com.

Service is first come first serve basis.

Looking forward to capture the happiest day in your life.

Thank you .
Ryan

black & white or color, your choice

2007-07-14T23:19:00.001+08:00

its not just merely taking the pictures, its more like capturing the moments.

be it black and whiteor

color....

you can be sure, isaryan can do it for you.

Exclusively by isaryan

2007-07-12T00:26:00.002+08:00

Cameras and Lenses for sale

2007-06-29T21:01:00.003+08:00

Hi there,

Welcome to my online shopping boutique for Bruneian photographers.

Your satisfaction is paramount and since Brunei does not have a dedicated place to camera et al aficionados. Let us help each other.

I am selling studio equipments, cameras, lenses, tripods and accessories for your enjoyment.

Watch this space...I KNOW you are going to love this. Comprehensive inventory coming. Email me your needs - Bruneians only apply. isaryanstudios@gmail.com

What isaryan can do for you?

2007-06-20T18:55:00.002+08:00

Brunei Wedding Photographer, isaryan, specializes in weddings, pre-weddings, engagements, photodocumentation, products, children, nature and event photography.
Photography services available throughout Brunei.

Wedding Photographer is online

2007-06-20T18:42:00.002+08:00

Hi and Welcome to isaryan studios.

Started in 1997, Isaryan only just begun the beautiful journey of providing excellent photography and videography services to brides and grooms.

Friendly and professional service with high quality personalized products.

Please view our demo and do compare our wedding packages before you engage our services. Our aim at isaryan is that quality does not have to be expensive. Your special day will be perfectly preserved.

For more information and bookings, please call 8191455 or drop us an email at isaryanstudios@gmail.com.

Looking forward to make you smile......forever.