|
EXPECTATIONS SURPASSED: THE 36.3-MEGAPIXEL NIKON D800 IS THE MULTIMEDIA HD-SLR THAT SHATTERS CONVENTIONAL RESOLUTION BARRIERS FOR MAXIMUM FIDELITY The New Nikon D800 Offers Unrivaled Resolution and Features Designed for a Variety of Demanding Professional Photographic and Multimedia Disciplines, Videographers and Filmmakers MELVILLE, N.Y. (Feb 6, 2012) – Today, imaging leader Nikon Inc. announced the highly anticipated D800 HD-SLR, engineered to provide extreme resolution, astounding image quality and valuable video features optimized for professional still and multimedia photographers and videographers. A camera with an unmatched balance of accuracy, functionality and image quality, the Nikon D800 realizes innovations such as a high resolution 36.3-megapixel FX-format CMOS sensor, a 91,000-pixel RGB Matrix Metering System, Advanced Scene Recognition System and many other intuitive features designed to create the preeminent device for the most demanding photo and video applications.  “Whatever the project, visionaries need a tool that is going to help them stay on-time and on-task. The Nikon D800 re-imagines what is possible from this level of D-SLR, to address the needs of an emerging and ever changing market; this is the camera that is going to bridge the gap for the most demanding imaging professionals, and provide never before seen levels of SLR image and video quality,” said Bo Kajiwara, director of marketing, Nikon Inc. “The D800 is the right tool for today’s creative image makers, affording photographers, filmmakers and videographers a versatile option for capturing the ultimate in still image quality or full HD content, with maximum control.” Extreme Image Quality The new Nikon developed 36.3-megapixel FX-format (35.9 x 24mm) CMOS sensor realizes Nikon’s highest resolution yet, and is ideal for demanding applications such as weddings, studio portraiture and landscape, where there is no compromise to exceptional high fidelity and dynamic range. Nikon’s first priority is amazing image quality above all else, and resolution of this magnitude affords photographers the ability to portray even the smallest details, such as a strand of hair, with stunning sharpness or crop liberally with confidence. Photographers also shoot with the assurance of NIKKOR lens compatibility, because only a manufacturer with decades of optical excellence can provide the glass to resolve this kind of extreme resolution.   Contributing to the camera’s rapid performance and amazing image quality is Nikon’s new EXPEED 3 image processing engine that helps professionals create images and HD video with amazing resolution, color and dynamic range. From image processing to transfer, the new engine is capable of processing massive amounts of data, exacting optimal color, rich tonality and minimized noise throughout the frame. Despite the immense data, the new EXPEED 3 also contributes to energy efficiency, affording the ability to shoot longer.  Advanced new automatic systems make it even easier to capture amazing images. The camera features a new enhanced auto white balance system that more accurately recognizes both natural and artificial light sources, and also gives the user the option to retain the warmth of ambient lighting. Users can expand dynamic range with in-camera High Dynamic Range (HDR) image capture, and enjoy the benefits of Nikon’s Active D-lighting for balanced exposure. Another new feature is direct access to Nikon’s Picture Control presets via a dedicated button on the back of the body to tweak photo and video parameters on the fly, such as sharpness, hue and saturation. True Cinematic Experience The Nikon D800 has a compact and lightweight form factor that’s preferable for a production environment, yet is packed with practical and functional features. The D800 is ideal whether the user is a filmmaker on location or in the studio or a documentarian in the field who requires portability and the NIKKOR lens versatility and depth of field that only a HD-SLR can offer. Filmmakers have the choice of various resolutions and frame rates, including Full HD 1080 at 30/24p and HD 720 at 60/30p. By utilizing the B-Frame data compression method, users can record H.264/MPEG-4 AVC format video with unmatched integrity for up to 29:59 minutes per clip (normal quality). This format produces higher quality video data without increasing file size for a more efficient workflow. The optimized CMOS sensor reads image data at astoundingly fast rates, which results in less instances of rolling shutter distortion. The sensor also enables incredible low-light video capability with minimal noise, letting filmmakers capture footage where previously impossible or expensive and complex lighting would otherwise be necessary. Users are also able to have full manual control of exposure, and can also adjust the camera’s power aperture setting in live view for an accurate representation of the depth of field in a scene. Whether shooting for depth of field in FX-format mode, or looking for the extra 1.5X telephoto benefits of DX mode, the high resolution sensor of the D800 allows videographers to retain full 1080p HD resolution no matter which mode they choose to best suit the scene. Users are also able to easily compose and check critical HD focus through the 921,000-dot, 3.2-inch LCD monitor with reinforced glass, automatic monitor brightness control, and wide viewing angle.  For professional and broadcast applications that call for outboard digital recorders or external monitors, users can stream an uncompressed full HD signal directly out of the camera via the HDMI port (8 bit, 4:2:2). This output signal can be ported into a display or digital recording device or routed through a monitor and then to the recording device, eliminating the need for multiple connections. This image can also be simultaneously viewed on both the camera’s LCD and an external monitor, while eliminating on-screen camera status data for streaming purposes. The D800 also includes features concentrated on audio quality, such as a dedicated headphone jack for accurate monitoring of audio levels while recording. Audio output levels can be adjusted with 30 steps for precise audio adjustment and monitoring. The D800 offers high-fidelity audio recording control with audio levels that can be set and monitored on the camera’s LCD screen. A microphone connected via the stereo mic jack can also be adjusted with up to 20 steps of sensitivity for accurate sound reproduction. What’s more, recording can be set to be activated through the shutter button, opening a world of remote applications through the 10-pin accessory terminal. Wield Speed and Performance with Astonishing Accuracy Whether shooting the runway or fast moving wildlife, the enhanced 51-point AF system of the D800 delivers blazing fast AF with tack-sharp results. Nikon has enhanced the Multi-Cam 3500-FX AF sensor module and algorithms to significantly improve low light acquisition, for precise focus to an impressive -2 exposure value (EV). The focus system utilizes 15 cross-type AF sensors for enhanced accuracy, and the system also places an emphasis on the human face, working in conjunction with the Advanced Scene Recognition System to provide accurate face detection even through the optical viewfinder. The camera also utilizes nine cross-type sensors that are fully functional when using compatible NIKKOR lenses and teleconverters with an aperture value up to f/8, which is a great advantage to those who need extreme telephoto focal lengths (single cross type sensor active with TC20E III). For maximum versatility in all shooting situations, whether photographing portraits or static subjects, users are also able to select multiple AF modes, including normal, wide area, face tracking and subject tracking to best suit the scene.  The D800 delivers upon a professional’s need for maximum speed when it counts. The camera is ready to shoot in 0.12 seconds, and is ready to capture with super-fast AF and response speed. To photograph action in a burst, the camera shoots up to 4 frames per second (fps) in FX mode at full resolution, or up to a speedy 6 fps in DX mode using the optional MB-D12 Battery Pack and compatible battery. Further enhancing the speed of the camera and overall workflow, the D800 utilizes the new USB 3.0 standard for ultra fast transfer speeds. Construction and Operability The body of the D800 is designed to offer a compact form factor and a lightweight body for the utmost versatility. The chassis is constructed of magnesium alloy for maximum durability, and is sealed and gasketed for resistance to dirt and moisture. Users are able to easily compose through the bright optical viewfinder, which offers 100% frame coverage. For storage, the D800 has dual card slots for CF and SD cards, and offers users the ability to record backup, overflow, RAW/JPEG separation, and the additional option of shooting stills to one and video to the other. For high speed recording and transfer, data can be recorded to recent UDMA-7 and SDXC / UHS-1 cards. The shutter has been tested to withstand approximately 200,000 cycles, and the camera also employs sensor cleaning. The D800 also features a built-in flash and is compatible with Nikon’s acclaimed Creative Lighting System, including a built-in Commander mode for controlling wireless Speedlights.  D800E - Maximum Resolution Unleashed In addition to the D800, Nikon will also be releasing a supplementary model for those professionals who demand even higher resolution and D-SLR versatility; the D800E. This model treads in medium format territory for studio work or landscape photography when there is no exception to only the highest fidelity and sharpness. This unique alternative model will effectively enhance the resolution characteristics of the 36.3-megapixel CMOS sensor by cancelling the anti-aliasing properties of the OLPF inside the camera. By doing this, light is delivered directly to the photodiodes, yielding an image resulting from the raw light gathering properties of the camera. A color moiré correction tool will also be available within Capture NX2 to enhance the D800E photographer’s workflow.  The Nikon D800 will be available in late March for the suggested retail price of $2999.95 The D800E version will be available in mid April 2012 for a suggested retail price of $3,299.95. For more information about these models, NIKKOR lenses and other D-SLR cameras please visit www.nikonusa.com.
About Nikon Nikon, At the Heart of the Image™. Nikon Inc. is the world leader in digital imaging, precision optics and photo imaging technology and is globally recognized for setting new standards in product design and performance for its award-winning consumer and professional photographic equipment. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics as well as the new Nikon 1 advanced camera with interchangeable lens system. In 2011, production of NIKKOR lenses surpassed 65 million, creating a new milestone in Nikon’s heritage of superior optics. For more information, dial (800) NIKON-US or visit http://www.nikonusa.com, which links all levels of photographers to the Web's most comprehensive photo learning and sharing communities. Connect with Nikon and other photographers on Facebook at http://www.facebook.com/nikon and get the latest news and information from Twitter by following @Nikon_USA. |
||
There are two types of new photographers: those satisfied with their low-cost point-and-shoot cameras, and those more enthusiastic photographers who recognize the limitations of low-cost equipment and want to improve their pictures. No longer satisfied with simple snapshots, the enthusiast moves up to a more complex digital camera—one with interchangeable lenses and manual controls—to satisfy their artistic urge.
Preorder from Amazon.com here
Assuming little to no knowledge of photographic terms, techniques, or technology, Beyond Point-And-Shoot is intended to help smooth the transition from photographic newbie to “real” photographer who is experienced, in-control, and passionate about their craft. Author Darrell Young explores various types of interchangeable-lens cameras, focusing on those with larger imaging sensors, such as digital single-lens reflex (DSLR) cameras.
Learn how to get the most out of your camera’s automatic and semi-automatic exposure modes, as well as how to move beyond those modes and take full, manual control of your camera. Watch your photography improve as you discover how to apply important photographic principles, such as depth of field, white balance, and metering. With this newfound knowledge you’ll move beyond point-and-shoot and begin taking truly great photographs.
Other topics include:
- Camera types and categories
- Choosing a camera system: DSLR vs. ILC
- Lens types, focal length, angle of view, and filters
- Aperture, shutter speed, and ISO sensitivity
- Controlling exposure, depth of field, and subject motion
- Using scene, auto, semi-auto, and manual exposure modes
- Understanding image formats: JPEG, TIFF, and RAW
- Using the powerful histogram for better pictures
- White balance, color space, and RGB bit-depth
My newest book is planned for release in May 2012. It is available for pre-order on Amazon.com.
Keep on capturing time...
Darrell Young
See my Nikon books here:
http://www.photographywriter.com/NikonBooks.asp
This article is an excerpt from Mastering The Nikon D7000, published by Rocky Nook and NikoniansPress.
Many of us have purchased or received new cameras recently.
The Nikon D7000 is certainly one of Nikon's most popular cameras at this
time. This article describes the care and feeding of the lithium-ion
battery and how to use it in the camera. However, since all Nikon DSLRs
use lithium-ion batteries and have similar chargers, menus, and
insertion methods, the principles in this article can be applied to
virtually any modern Nikon.
If you’re like me, you’ll open your camera’s box, attach the lens, insert the battery, and take your first picture. Wouldn’t it be a better idea to wait an hour to charge the battery, and only then take the first picture? Sure it would, but I’ve never done that, and I bet you won’t either. Nikon knows this and doesn’t send out new cameras with dead batteries.
Most of the time the battery is not fully charged, but it has enough power to set the time and date, then take and review a few pictures. Think about it. How would you test a brand new battery? You’d charge it and see if it will hold a charge. Do you think Nikon is in the habit of sending out batteries that are untested? No! So most of the time, you can play with your new camera for at least a few minutes before charging the battery. I’ve purchased nearly every DSLR Nikon has made since 2002, and not one of them has come with a dead battery.
When my latest camera arrived, the battery was about 68 percent charged. I used the camera for an hour or two before I charged the battery. However, let me mention one important thing. If you insert the battery and its charge is very low, such as below 25 percent, it might be a good idea to go ahead and charge it before shooting and reviewing lots of pictures. You may be able to set the time and date, and test the camera a time or two, but go no further with a seriously low battery.
Included in the box with the camera is the Nikon Battery Charger MH-25. The battery will only fit on the charger in one direction, as shown in figure 1.1. An orange indicator light on the charger will blink until the battery is fully charged. When the blinking stops and the light stays orange, the battery is ready for use.
The D7000 uses a Lithium-ion (Li-ion) battery pack. While this type of battery doesn’t develop the memory effects of the old Nickel-Cadmium (NiCad) batteries from years past, there can be a problem if you let them get too low. A Li-ion battery should not be used to complete exhaustion. It has a special protection circuit that will disable the battery if one of the cells goes below a certain key voltage. You’d probably have to run it all the way down and then store it in the camera for a few weeks to actually cause the battery to disable itself. However, a good rule of thumb is this: When your camera’s Li-ion battery gets down to the 25 percent level, please recharge it. I don’t let mine go below 50 percent for any extended use.
If you can hold yourself back from turning on the camera until after the battery is charged, that would be the optimum situation.
If you’re like me, you’ll open your camera’s box, attach the lens, insert the battery, and take your first picture. Wouldn’t it be a better idea to wait an hour to charge the battery, and only then take the first picture? Sure it would, but I’ve never done that, and I bet you won’t either. Nikon knows this and doesn’t send out new cameras with dead batteries.
Most of the time the battery is not fully charged, but it has enough power to set the time and date, then take and review a few pictures. Think about it. How would you test a brand new battery? You’d charge it and see if it will hold a charge. Do you think Nikon is in the habit of sending out batteries that are untested? No! So most of the time, you can play with your new camera for at least a few minutes before charging the battery. I’ve purchased nearly every DSLR Nikon has made since 2002, and not one of them has come with a dead battery.
When my latest camera arrived, the battery was about 68 percent charged. I used the camera for an hour or two before I charged the battery. However, let me mention one important thing. If you insert the battery and its charge is very low, such as below 25 percent, it might be a good idea to go ahead and charge it before shooting and reviewing lots of pictures. You may be able to set the time and date, and test the camera a time or two, but go no further with a seriously low battery.
Included in the box with the camera is the Nikon Battery Charger MH-25. The battery will only fit on the charger in one direction, as shown in figure 1.1. An orange indicator light on the charger will blink until the battery is fully charged. When the blinking stops and the light stays orange, the battery is ready for use.
 |
| Figure 1.1 – Charging the camera’s battery with the MH-25 charger |
The D7000 uses a Lithium-ion (Li-ion) battery pack. While this type of battery doesn’t develop the memory effects of the old Nickel-Cadmium (NiCad) batteries from years past, there can be a problem if you let them get too low. A Li-ion battery should not be used to complete exhaustion. It has a special protection circuit that will disable the battery if one of the cells goes below a certain key voltage. You’d probably have to run it all the way down and then store it in the camera for a few weeks to actually cause the battery to disable itself. However, a good rule of thumb is this: When your camera’s Li-ion battery gets down to the 25 percent level, please recharge it. I don’t let mine go below 50 percent for any extended use.
If you can hold yourself back from turning on the camera until after the battery is charged, that would be the optimum situation.
 |
| Figure 1.2 – Examining and inserting the battery |
Figure 1.2 shows how to insert the battery into your camera. On the left side of the image you can see the battery from the top and bottom. Notice that you insert the battery with the rounded side up and the flat side down. Below the word “Nikon” on the battery’s top is a small, faint arrowhead. Insert the battery in the direction of the little arrow, as shown in figure 1.2.
In the picture, the little door on the bottom of the camera’s grip is open and the battery is partially inserted in the correct orientation. Push it all the way in until the yellow battery-retention clip snaps into place, and close the Battery-chamber cover (battery door).
The yellow battery-retention clip holds the battery in place even when the Battery-chamber cover is open. To remove the battery you will need to open the Battery-chamber cover and push the retaining clip toward the door hinge. The battery will pop out when you have done it correctly.
 |
| Figure 1.3 – Battery info screen |
Please use only a Nikon brand EN-EL15 battery pack in your camera. This particular battery has a special circuit that talks to the camera and enables the 0–4 Battery age scale shown on the Battery info screen (see figure 1.3). It tells you when a battery has outlived its usefulness and should be disposed of—going beyond just telling you when it’s low on power.
In figure 1.3, image 2, you can see a picture of the Battery info screen. Notice that it shows the Bat. meter, which gives you the amount of voltage charge or power the battery has left as a percent value. The Pic. meter shows the number of images taken since this battery was last charged and inserted. Finally, the Battery age scale tells about the life of the battery and whether it needs to be replaced. It uses a scale of 0 – 4, or five steps of life. The Battery age scale has nothing to do with the amount of power that the battery currently contains. It shows how much useful life the battery has left until you need to recycle it and buy a new one.
My Recommendation: A genuine, new Nikon EN-EL15 battery for the D7000 is usually less than $60 USD when purchased online. Why buy a cheap aftermarket battery made who-knows-where and use it to power the circuits of your expensive camera? How can you be sure that a cheap non-Nikon battery even has the correct circuit for Battery info communication? How can you know that the cheap cells won’t short-circuit and burn your camera to a cinder? Li-ion cells are somewhat finicky and require careful manufacture and charging control. Personally, I’ll only trust the real thing—a Nikon brand EN-EL15 battery—to power my expensive camera.
Keep on capturing time...
Darrell Young
See my Nikon books here:
http://www.photographywriter.com/NikonBooks.asp
Nikon has released a brand new Speedlight flash unit, the SB-910. Here is their official press announcement:
MELVILLE, N.Y. (November 29, 2011) – Today, Nikon Inc. announced the addition of a new flagship speedlight, the powerful and capable SB-910 speedlight. Building on the versatility of Nikon’s Creative Lighting System (CLS), the SB-910 incorporates an enhanced intuitive operating system and graphic user interface (GUI). The SB-910 speedlight comes equipped with a wide zoom range covering the most popular focal lengths as well as FX/DX-format identification that optimizes zoom settings based on the camera body. This new speedlight also provides more efficient battery usage as well as an enhanced Thermal Cut-Out function. [End Press Release]
The new SB-910 is an accessory-shoe mounted Speedlight made for both FX and DX format Nikon DSLR cameras. It will work with the COOLPIX P7000 camera also. It has both wireless remote commander and slave unit capabilities with up to four channel (1–4) operation. When used in Commander mode it can control up to three groups (A, B, and C) of an unlimited number of other Nikon speedlight units. It can control remote Speedlights of the following types when used as a commander:
Any particular group can have any number or mixture of the speedlights in the list. Nikon does not specifically list the SB-800 Speedlight in its specifications, but since the SB-800 is fully CLS compatible, you should expect that the SB-910 can control it too. Nikon calls this "system integration." I call it cool! It uses Nikon iTTL (intelligent through-the-lens) metering when used on-camera or in a group of remote slave flashes. This allows the flash to share exposure information with any Nikon camera compatible with Nikon CLS (creative lighting system). It has manual mode with "Power Ratio", three illumination patterns to allow for specific lighting arrangements, and a wide zoom range (17–200mm). The controls on the camera have been "strreamlined" by Nikon for easier operation. They added a dedicated Menu button to make it operate more like Nikon DSLRs when accessing the menu system. Here is a look at the back of the SB-910:
Nikon has "improved" the thermal cutout protection on this flash. If you recall, when the older flagship SB-900 flash was released, there was a great outcry about the flash unit "overheating" and shutting down at inopportune moments. The SB-910 changes how the flash reacts to high-heat situations. Instead of cutting off the flash when it gets hot, the flash merely slows down recycling time to prevent overheating. Sounds like a good idea to me, as long as it is not too overenthusiastic in preventing minor overheating. Some have complained about Nikon flash filters fading or wearing out. Nikon has solved that issue by creating two "hard" color-correction filters specifically for the SB-910 Speedlight: the SZ-2TN Incandescent Filter and the SZ-2FL Fluorescent Filter. Both snap on like the diffusion dome. They should be easier to use and last longer in high-volume usage environments. Also, here is a look at the new SJ-3 regular filter set for the SB-910 Speedlight:
The SJ-3 Color Filter Set allows you to modify the SB-900 Speedlight flash output to match the lighting of the background scene when shooting under fluorescent or incandescent lighting. It includes eight colors: FL-G1 (fluorescent), TN-A2 (incandescent), Blue, Yellow, Red, and Amber. There are a total of 20 filters in the set. Additional accessories include (see: http://bit.ly/vd0aTm) :
Of the above mentioned accessories, these are included in the box with the SB-910:
Technical Specifications
Commander Function:
Yes
Remote Function:
Yes
Guide Number:
34 m/111.5 ft. (at ISO 100, 35mm zoom head position, in
FX format, standard illumination pattern, 20°C/68°F) to 48 m/157.5 ft.
(at ISO 200, 35mm zoom head position, in FX format, standard
illumination pattern, 20°C/68°F)
Electronic Construction:
Automatic Insulated Gate Bipolar Transistor (IGBT) and series circuitry
Flash Exposure Control:
Lens Coverage:
Illumination Pattern:
The light distribution angle is automatically adjusted to the camera's image area in both FX and DX formats:
Other Available Functions:
Bounce Function (Tilt):
Flash head tilts down to 7° or up to 90° with click-stops at -7°, 0°, 45°, 60°, 75°, 90°.
Bounce Function (Rotate):
Flash head rotates horizontally 180° to the left and right with click-stops at 0°, 30°, 60°, 75°, 90°, 120°, 150°, 180°
Minimum Recycling Time:
Flash Duration:
Required Power Source:
Optional Power Supplies:
Flash-ready Indicator:
Ready Light:
Front
Flash Compensation:
–3.0 EV to +3.0 EV in increments of 1/3 steps in i-TTL auto
flash, Auto Aperture flash, Non-TTL auto flash and Distance-priority
manual flash modesCustom Settings:
Minimum Number of Flashes / Recycling Time:
Wireless Flash Modes:
Wireless Communication Channels: Four: 1, 2, 3 and 4 Channels Wireless Groups: Three: A, B and C Other Functions:
Dimensions: 3.1 x 5.7 x 4.4 in. (78.5 x 145 x 113mm) Weight (Approx. without batteries):
14.8 oz. (420g)Supplied Accessories:
Summary The Nikon SB-910 Speedlight Flash Unit is Nikon's new flagship Speedlight Flash Unit. It is going to sell in the US$500+ range, with a suggested retail price of US$549.95. With Nikon's new minimum pricing structure, I wouldn't expect a lot of discounting. It is currently listed at US$549.00 on Amazon.com, for instance. The Nikon SB-900 and SB-800 should now drop in price as the market is flooded with older flash units, so those wanting a more powerful flash unit can look into the new SB-910 or find a good used SB-900 or SB-800. The SB-900 is going to remain available as new stock, at least until stock runs out. You can view sample photos created with the Nikon SB-910 at the following website (case sensitive): http://bit.ly/tuXbzq We have an excellent choice of Speedlights available for our Nikons. Now is the time to get a new flash unit for yourself. Check out the new flagship SB-910, or find a less costly unit. Either way, why use anything but a Nikon flash unit on your Nikon camera? Keep on capturing time... Darrell Young See my Nikon books here: http://www.photographywriter.com/NikonBooks.asp |
During the recent PhotoPlus Expo in
New York I was privileged to spend three days with Jorg Muhle and Julian
Buhler of Germany; and Devon Bell of California. My publishing company,
Rocky Nook of California, had a booth at the Expo and I had the
privilege of being one of the hosts.
The booth presented Rocky Nook's books for photographers, Seenby.com's Fine Art Photography, and c't Digital Photography magazine, which Rocky Nook is co-publishing. Here's a picture of the crew in our booth at the Expo:
Since this blog is about both the PhotoPlus Expo and New York, I'd like to discuss a couple of favorite companies of mine in the early part of this blog (part 1) and later show you some pictures from two enthusiastic Nikon photographers—my wife and I—as we experience the fast times of New York with our cameras up to our eye (part 2). Part 1 – PhotoPlus Expo 2011 There were a lot of people at the Expo and hundreds stopped by our booth to get discount coupons for Rocky Nook books (including mine), Seenby.com's Fine Art Photography, and to see the newly introduce c't Digital Photography Magazine. I had the opportunity to meet several readers of my Mastering the Nikon DSLR books, which I thoroughly enjoyed.
I was pleased to meet Hendric Schneider of Nikonians.org and Brad Berger of Berger Bros Digital Photography & Video of Long Island. I have spoken to these friends on the phone but was especially glad to see them in person. I buy all my Nikon cameras and accessoriesfrom Brad Berger, so he made a special trip to meet me when he heard I was going to be at the Expo. Each morning of the Expo hundreds of people assembled just outside the main entrance. As soon as they dropped the rope the mad rush began:
People lined up all day long at the Nikon booth to see presentations and experiment with all the current Nikon DSLRs, Nikkor lenses, and the new J1 and V1 ILC cameras. It was gratifying to see all the interest in Nikon.We had a great vantage point being just across the hall from Nikon's huge area. Nikon didn't release any new DSLRs at the Expo, although I can understand why due to the massive flooding in Thailand and recent earthquake and tsunami in Japan. Nikon did have up for display their new Nikon 1 (J1 and V1) Interchangeable Lens Cameras (ILC). I recently blogged about this new line here. Although not DSLRs the new Nikons are an exciting addition to the line for Nikon shooters. The cameras are small, high quality, and have interchangeable lenses. They ought to make excellent party and vacation cameras for those times when you don't want to carry a larger DSLR.
Rocky Nook and c't' Digital Photography held a drawing on Saturday at noon for some nice items. Here is the winner announcement from c't' Digital Photography's Facebook page: "Congratulations to B. Carmine, the winner of the Sigma Corporation of America 50mm lens and Lowepro Pro Runner 200 backpack as well as other goodies from Rocky Nook, Seen.by photography, and c't Digital Photography." Overall, PhotoPlus Expo 2011 was a great success and a really good time for all involved. I can't wait until next year! Rocky Nook Publishing Company Rocky Nook's books are very popular with photographers. They are very high quality in print, and many come in eBook formats too. The authors publishing with Rocky Nook are some of the best and most experienced authors and photographers around. I've been writing for Rocky Nook since my first book, Mastering the Nikon D300, was released in October 2008. The company is rare in its concern for both authors and readers, in my opinion. The staff at Rocky Nook—including Joan Dixon, Managing Editor; Gerhard Rossbach, Publisher and CEO; and Devon Bell, Sales and Marketing Manager—are all exceptional people. My experience with the company has been a pleasurable one. If you really want to learn the deep techniques of excellent photography, buy a few Rocky Nook books. Download their 2011 catalog (PDF), and from the subject matter you'll see what I mean: http://www.rockynook.com/infoservice_catalog.php The visitors at the Rocky Nook booth were many and varied and, in addition to the Rocky Nook books, seemed especially interested in c't Digital Photography magazine.
c't Digital Photography Magazine Let me tell you about the new c't Digital Photography magazine. They are a quarterly German magazine brought over to English, new to the USA, and somewhat different from most American magazines. You are familiar with the German attention to detail, I am sure, and the magazine is no different from other fine German creations. It is a physically larger magazine than most, along the size of the photography magazines from the UK. It is also much thicker than most magazines, with extremely in-depth articles. For instance, the article on 3D photography in the 5th issue goes out to 35 pages, with several sections. In fact, the magazine averages about 20 pages per article, which is unheard of in American mags. When you sit down to read c't' Digital Photography you'll feel more like you are reading a book. That's been my experience, and I'm totally hooked. I am keeping each magazine on a shelf, sort of like a reference book. It costs a little more than many American magazines at US$14.95 per issue, but there is so much more reading material that I would dare say that one issue of c't Digital Photography magazine is equivalent to three or four issues of most American magazines. Each issue of the magazine comes with a DVD including video tutorials, software, and sample photographs. Here's a PDF file showing the contents of the DVD from issue six, which includes a complete eBook copy of Torsten Andreas Hoffmann's new Rocky Nook book The Art of Black and White Photography, not even released until January 2012 (a US$44.95 value). The DVD by itself is worth the subscription price!  This is no light weight, advertising filled, fluff magazine that is encouraging you to feel good about the latest camera release (buy, buy, buy!). Instead, it is designed to actually teach enthusiast photographers several new things in each issue. In fact, it is billed as an "in-depth quarterly for the photo enthusiast." I heartily agree! I just got an email from Devon Bell about a special subscription offer for the magazine, good until December 31, 2011 (I get no commission). Here's what she wrote: Subscribe now through December 31st and get a 5th issue free - a savings of over 30% off the newsstand price! Please enter Offer Code 1104DD05 in "Comments" field of the online order form to receive your 5th issue. The Comments fields is found at the bottom of the order form here: https://www.ct-digiphoto.com/subscription/ Subscriptions are $49.95, with 4 Issues per Year – Offer Expires 12/31/11 Learn more about c't Digital Photography by visiting them at www.ct-digiphoto.com or joining them on Facebook or Twitter: www.facebook.com/ctdigiphoto www.twitter.com/ctDigiPhoto Special note: I need your help! I really want to see c't Digital Photography Magazinesurvive and thrive here in the USA. Subscribe, or at least pick up a copy on the newsstand. If you like it (I know you will), please let other photographers know about the magazine. Word of mouth means a lot for the success of a new magazine. Will you help spread the word, please? As photographers with Facebook, Google+, and blog accounts, we are a force to be reckoned with. Please help me take this viral. Thanks! Part 2 – Touring the Big Apple Moving on to some experiences with the incredible New York City. My wife, Brenda, and I enjoyed Wednesday October 26th and Sunday, October 30, 2011 in the Big Apple. We traveled around New York on the subway and had some great experiences. Here is the camera equipment we were carrying for the New York excursion. Brenda packed light, I had a lens in each coat pocket to keep from attracting any attention to myself with a camera bag: Darrell
Brenda
Our first stop in Manhattan was the World Trade Center site and the new enormous World Trade Center buildings. Here is a picture of them under construction. They are standing in the original locations of the former Trade Center buildings:
If you want to visit the actual Trade Center Site you must arrive early or schedule in advance. They only allow a limited number of people on the site each day. You can get more information about visiting the World Trade Center site here: http://www.wtc.com/. Here are a couple of pictures of the World Trade Center Memorial Center on 20th Avenue with one of the new buildings in the background and inside the memorial center:
New York Subway My wife and I had never ridden the subway before and it was quite an experience. Sort of like riding on a flat roller coaster with very fast starts and stops that will knock you down if you are not prepared. I now understand why the subway cars have hand rails all over the place. You need them!
Here is a young lad that we met on the subway. He waited till the cars were rolling, whipped out a boom box, and proceeded to lay some cool Michael Jackson dance moves on us. Of course, everybody in the vicinity added a dollar bill to his cap afterward. We asked him how much he makes per day and he said, "about $200." Not bad for an 11-year old! My wife asked him about school and he said his mom won't let him subway dance unless he is regular at school. His brother makes about $300 per day doing something similar on the subway. New York natives! We learned all kinds of cool terminology that New Yorkers must know, such as "Uptown, Midtown, Downtown, what a borough is, and how to figure which subway train to take." We found out that if you stand around looking dumbly at the signs saying A,B,C, 1,2,3 that New Yorkers ignore you soundly but other tourists walk up and ask if you know how to interpret the signs. You can tell the tourists by their open maps and confused faces. After a few trips uptown and downtown, we got the hang of how things worked and lost our fear of being trapped forever on a moving subway train going who knows where. If confused, take the A train, it'll get you somewhere eventually! Central Park We next toured Central Park only to find that the snow storm from the night before had done some major damage to the trees. I heard there were over 1000 big limbs down in the park. Trees and branches were down everywhere from the high winds and heavy, wet snow. Here's a picture of the Maine Monument at the entrance of Central park near West 59th street. This monument was created for 260 mariners that lost their lives in the harbor of Havana, Cuba on February 15, 1898. Their battleship exploded and sank. Spain declared war on the USA in April of 1898:
http://www.centralparknyc.org/visit/things-to-see/south-end/maine-monument.html We strolled around the partially snow covered grounds of the park. Here is my wife Brenda, with her trusty Nikon D7000 on the famous Pine Bank Arch cast-iron bridge you see in nearly every TV show and movie shot in Central Park:
Staten Island Ferry After leaving Central Park, we headed back down the subway (downtown) to take a ride on the Staten Island Ferry and get a glimpse of the Statue of Liberty. Here are a few shots of the ferry ride. It was windy and fun!
Times Square Next on our tour is the world-renowned Times Square. It's a place of people, noise, movement, and lights; especially at night! As Tennessee hillbillies (Jed Clampett and I are cousins), we just stood around with our mouths hanging open looking at all the lights. People never stop on the square, 24-hours per day. Weather doesn't matter either. New York and Times Square never sleeps! Look at these pictures and a four minute video I shot with my Nikon D300S:
My Nikon D300S Video of Times Square at night on
YouTube (Kindle Touch and Keyboard viewers do not show this video. See
it here: http://youtu.be/nf48V82IEVg online instead)
Empire State Building Our final event before leaving New York was a trip up the Empire State Building. You can go up to the observation deck on the 86th floor at a cost of US$22 adults and US$15 children. For an additional US$15 you can go even higher to a deck on the 102 floor. Brenda and I dutifully paid our US$44 to go see the sights from on high. We were hearded like cattle around and around, back and forth, floor after floor, multiple elevator rides, metal detector, empty your pockets and remove your belt, x-ray machine of your items in baskets, explain the lenses in your coat pocket, and finally to the 86th floor. Whew! However, the trip was worth it once we got there. Here are a few pictures and a video to see what I mean!
We greatly enjoyed our trip to New York City and the PhotoPlus Expo and would like to thank Rocky Nook and c't Digital Photography magazine for letting me be a host at the booth. It was fun and exciting to meet so many nice people and even some of my book readers. It was also great to discover what is now my favorite digital photo magazine. New York was an experience of a lifetime. Everyone should go there at least once. I've never seen anything like it! I can't wait to take my wife and my Nikon back to New York again. Let's hope we can do it again in 2012 at the next Expo. Thanks for reading my blog. I hope I've captured a tiny bit of the flavor of New York and allowed you to take a short trip of your own. Keep on capturing time... Darrell Young See my Nikon books here: http://www.photographywriter.com/NikonBooks.asp |
|
As Nikon DSLR users we have a choice of many fine accessories for our Nikon cameras. Our Nikons are part of a "system" of lenses and accessories that make our choice in camera brand one of the wisest and most efficient in the world. When you travel to far off places, it's good to have a GPS unit in your car to find where you are going. Wouldn't it also be nice to have your camera record GPS coordinates to each picture you take so that you can find your way back to a specific spot for future photography? With the Nikon GP-1 GPS unit, your Nikon DSLR can do just that! Let's see how it works. Nikon GP-1 GPS Unit
I bought a Nikon GP-1 GPS unit a few years back when I
wanted to write about it in one of my books. It's a great addition to
any Nikon photographers accessory collection. Nikon's GPS takes up
little space in any size camera bag and works very well in the field.
In figure 1 you can see my Nikon D7000 with a GP1-GPS
unit mounted in the accessory shoe on top of the camera (where an
external flash mounts). The GP-1 GPS comes with a GP1-CA90 cable to
interface with Nikons such as the D7000, D90, D5100, D5000, D3100, and
D3000. It also includes a GP1-CA10 cable for Nikons with a 10-pin port
on the body, such as the D200, D300, D300S, D700, D2X, D3, D3S, and D3X.
You can see the GP1-CA90 cable in figure 1 on the right side. I put a
cool curl in the wire to make it look sophisticated.
If you'll notice in figure 1, I have a MC-DC2 remote release cable attached to the GP-1 (wire on left side). If you use your Nikon on a tripod and need a remote release for sharp pictures, you'll need to acquire one of these inexpensive MC-DC2 remote releases. The GP-1 GPS unit has a port on its side made for the MC-DC2, as shown. It will allow you to release the shutter on any Nikon through the GP-1 unit, while it is mounted. When I go to the Smoky Mountains to take pictures, or any time I am traveling and would like to be able to remember where I took a certain picture, I have my GP-1 GPS unit mounted on my camera. In figure 2 is a close up picture of the GP-1 unit mounted in my D7000's accessory shoe. You can also see a close up of where the GPS-to-camera GP1-CA90 cable plugs in to the unit:
The GP-1 GPS unit is powered directly by the camera's
battery; therefore, you may want to take more than one battery for your
camera body if you shoot a lot during the day. The GP-1 unit, like the
GPS in your smart phone, pulls extra current. From personal experience
with the unit, I suspect it increases the battery drain by as much as
50% over a camera with no GP-1 mounted. If one battery will last all day
normally, you will need two batteries to do the same. However, for the
cost of extra battery drain, you'll have the convenience of later
knowing exactly where each picture was taken. You'll be able to return
to that exact spot and shoot new views of the scene–even years
later. You can access the GPS coordinates in various applications, such
as Nikon View NX2, Nikon Capture NX2, Lightroom, or Photoshop.
While you are shooting pictures with a GP-1 mounted, the camera will display an extra data screen with GPS information, as follows:
The GPS coordinates screen will show on the camera's
monitor, overlaying the picture behind it, as shown in a GPS data screen
from a Nikon D5000 in figure 3. You can scroll to the GPS coordinates
screen with the Multi selector thumb switch when an image has the extra
GPS data embedded by the GP-1. It displays the Latitude, Longitude,
Altitude, and Universal Coordinated Time (UTC) for each image. The GP-1
does not record compass direction.
When you have a GP-1 mounted the camera will display a small GPS word on the camera's upper control panel and/or on the rear monitor. In figure 4 you can see a screen on the left from a Nikon D7000's upper Control panel LCD. The screen on the right in figure 4 is from a Nikon D5000's Information display on the rear monitor.
Now, let's examine how to use the GP-1 GPS Unit with a Nikon DSLR. The configuration method is similar for most Nikon DSLR cameras. Preparing the Camera for GPS Usage There are several screens used in setting up a Nikon for GPS use. First, a decision should be made about the exposure meter for when a GPS unit is plugged into the camera. While the GPS is connected, the camera’s exposure meter must be active to record GPS data to the image. You’ll have to do one of two things:
You can decide between these two conditions with the following Auto meter off settings: Auto Meter Off Figure 5 shows the Setup Menu screens used to set the meter to stay on the entire time the GPS is connected or to shut down after the Auto meter off delay expires:
The GPS will only stay connected to satellites when the exposure meter is active. You can select either Enable or Disable, which controls how the exposure meter reacts to a GP-1 GPS unit being mounted on your Nikon. Here’s what each selection does:
It sounds a bit weird to use the word Disable to make your GPS unit stay connected. However, remember that you are enabling or disabling Auto meter off (automatic exposure meter shutoff), not the GPS unit itself. When Auto meter off is disabled the exposure meter stays on the entire time the GPS unit is attached. Note: If you choose to leave Auto meter off enabled, you can control the Auto meter offtime delay with the camera's Custom Setting Menu. I would suggest increasing it from the default 6 seconds to a longer period so that your camera is not constantly having to reconnect to GPS units between shots. That's a time waster! Some Nikons use Custom Setting Menu > c Timers/AE lock > Auto meter-off delay. Other Nikons use Custom Setting Menu > c Timers/AE lock > Auto off timers > Custom > Auto meter-off. Each of those custom settings allow you to configure an "auto-off" time for the exposure meter. The Custom Setting Menu selection differs from the GPS Auto meter off selection in that the Custom Menu selection affects all exposure meter operation timeouts, not just when a GPS is attached. Using Your Camera with the GP-1 Nikon GPS If the GPS icon is flashing on the Control panel and/or Information display, it means that the GPS is searching for a signal. If you take a picture with the GPS icon flashing, no GPS data will be recorded. If the GPS icon is not flashing, it means that the D7000 is receiving good GPS data and is ready to record data to a picture. If the camera loses communication with the GPS unit for over two seconds, the GPS icon will disappear. Make sure the icon is displayed, and isn’t flashing, before you take pictures! The GP-1 GPS unit has a small LCD on its rear side that blinks red when it is acquiring satellites and goes solid green when the unit it ready to use. It takes about a minute to acquire satellites the first time the GPS is used in a particular area. After that initial satellite acquisition, the GPS relocates satellites within a few seconds when turned off and back on. Other than checking for the flashing GPS or LED light to make sure it is tracking satellites, using the GP-1 GPS is easy and foolproof. Once you mount it on the camera and it acquires satellites, you'll have GPS coordinates for each picture. If you worry about battery drain, just make sure you have an extra battery or two for all day shooting. The Nikon GP-1 GPS unit mounts either onto the camera’s Accessory shoe or on the camera’s strap, with the included GP1-CL1 strap adapter. My Recommendation: Get the Nikon GP-1 GPS unit! It’s easy to use, foolproof, and has all the cables you need for using it with the camera. The only other cable you’ll need to buy is the optional MC-DC2 shutter-release cable. I use the tiny Nikon GPS unit constantly when I’m out shooting nature images so I can remember where to return in the future. Here is a link to the GP-1 GPS and MC-DC2 remote release on Amazon.com: Nikon GP-1 GPS Unit: http://amzn.to/t88S7U
Nikon MC-DC2 Remote Release: http://amzn.to/uwkZy9
Once you start using a GPS unit, it will be hard to stop. I rarely leave home without my Nikon and its GP-1 GPS. It costs less than US$200 and is available at most large camera stores and online at places like Amazon.com. Get one for your camera, you'll use it often. I do! Keep on capturing time... Darrell Young See my Nikon books here: http://www.photographywriter.com/NikonBooks.asp |
||||||||||||||
Continue reading Nikon GP-1 GPS Unit Review.
In early 2005 I was ruminating the purchase of a Nikon D2X. At the time, the camera cost US$5000. That's a hunk of money for anyone to part with! I wrote an article called Ode to the Nikon F5 because I was wondering if I should forget digital and stay with film. I was shooting with a Nikon D100 (6 megapixel) and was unsure if I should get the Nikon D2X pro digital or buy a Nikon F6 and stick with film. I already had a Nikon F5 film camera and was really torn between two worlds. Digital was bright and shiny, but not yet fully developed. Film was proven and faithful, yet on the way out as the mainstream way to shoot for most photographers. As you read this article I wrote seven years ago, see if you can identify with my feelings. Did you ever feel this way?
Flashback...
(Entering 2005)
Ode to the Nikon F5
Here I sit contemplating in East Tennessee, on a cold January night. To my right is my 35mm bag, with my trusty F5 and N80. To my left is my digital bag with my D100 and D70. At my feet is my medium format bag with my RB67 and Agfa Isolette folder. I am surrounded by my camera buddies who've gone so many places with me over the last few years.
I've been reading exciting new ads and reviews for the last several days. The D2X is almost here, the F6 has arrived, and medium format is dying. I want a D2X with its 12+ megapixel image and I want an F6 with its tough smaller body—and I can have both soon for merely $8000 USD! (Gaack!) I reach down and pick up my F5 and with my other hand grab my D100. These are my familiar friends. Can a hunk of complicated metal parts be a friend? My mind says no, but my heart says yes.
Should I sell my D100, after all I need a lot of money to buy the new cameras coming down the market. Should I let go of my F5 for a few bucks to offset the cost of a new F6? I consider it! First, I check eBay to see what a nice, well cared for D100 is going for...$$800.00 USD. (Sigh!) I remember like it was yesterday how I called 200 camera stores and gladly plunked down $2,500.00 USD on August 12, 2002 for my D100. What happened?
I also remember the way my Nikon F5 film camera looked up at me in June 2002 as I opened its box and picked up the 35mm wonder camera. I remember how that 8-frames-per-second clickity clickity clickity sound was so enthralling. On eBay, I might get $750.00 USD for it now! (Sigh!)
What am I going to do? Do I need to spend another $8,000.00 just to satisfy my Nikon Acquisition Syndrome (NAS) cravings? What will happen to my photography if I don't upgrade this winter? Spring is coming, after all! Will my photographic skills shrivel up and die if I do not upgrade in 2005? (What a thought!) The bottom line is...do I need to buy more cameras? My NAS screams, "of course, you fool!" My wife says, "why, are your cameras broken?"
My wife...what a sweetheart! Is she the lone voice of reason in a wilderness of magazine ads, D70 slinging rhino shooters, and drooling camera reviewers? Maybe! Me thinks I should listen to her! (I trust her judgement, for you see...she married me.) Therefore, if I listen to my sweetie, where will I be? Where I am now. No change, same cameras. Is that bad? Maybe not! For you see, my D100 still makes a great 11x14, and my F5 still can burn a roll of 36 in 4 seconds. I hear that the F6 is up to three milliseconds faster on autofocus. Uh, wow! That moose sure was moving fast. He almost outran my F5's piddly slow focus...NOT!
Hey, I own an F5, and here before all my friends I proclaim my bond to it. I'm not selling it. It is mine until my kids inherit it in about 30 years. (Film will still be available then, by the way, just a bit more expensive!) I don't need an F6. If I want a small tough body, I'll just use my N80. I want the F5's imposing bulk and balanced shutter to make really sharp pictures. I'd be willing to bet that my F5 will take just as good a picture as the new F6. And...I already own it!
Now, I realize that this flies directly in the face of capitalism and the American way. I am supposed to trade in my car every two years and my camera every three. Well, I won't do it! I come from the "old school" of photography. I made great pictures with a plastic Diana F in 1967. It's not the camera, it's the photographer. When I bought my first Nikon (an FM) back in 1980, it was with the understanding that I could keep right on using it until I was too old to press the shutter release. What changed? Have Nikon cameras suddenly become cheap plastic junk, like other brands? Nope! Not so! My F5 is prepared to take me into my 70's (I'm merely 46 now). The question is, am I prepared to let it? I am inclined!
I'm not saying that you shouldn't go out and buy that nice new F6. Were I starting now, I'd probably want to smell that shiny new baby coming out of its box. But, I already have an F5—why buy an F6? What will I really gain? Not a lot!
I truly think that my NAS will overpower me when I see the D2X in the flesh and I will fall to my knees with slack drooling lips and ask my wife to write the check. (She does have a D70, so she won't complain too much). But, my F5 is mine. I will keep it. I decline to buy an F6. Nikon may not be happy with me over that; however, they'll be okay since I did buy several other Nikons in the last 10 years. And, I think a few more are coming. However, unless my F5 explodes into dust, I'll use it till I do!
Nikon F5.....The Perfect 35mm camera!
(Leaving 2005)
Flash forward...
Not long after this article was written, I sold my F5 and bought the Nikon D2X for US$5800. I had to have one of the first ones in the USA and got # 1500. I had to pay dearly to be one of the first, an additional US$800 above retail. My fickle heart demanded the latest thing out. Well, I still have that D2X and I'll never sell it. Would you, after spending US$5800? Buying that camera opened up a new world of photography for me. I became a writer for Nikon cameras not soon afterward so I guess it was a good choice for me. I started shooting a lot of stock pictures and today make part of my living from images I shot back then.
Time changes things and technology marches on. It doesn't pay to be too attached to any form of tech since change happens quickly. However, we can look back and remember the days of our younger lives. The tools we used to capture time, years ago. Does your heart yearn for the good old days? Sometimes mine does, until Nikon releases a new DSLR and digital NAS kicks in yet again.
It will be a few months until we see a new DSLR. I think I'll go check eBay. I bet I can get another Nikon F5 for a really good price now. Film is still available. I miss my old friend, the F5. Maybe his cousin is for sale at a good price? An older form of NAS is presenting itself—film camera NAS. I haven't felt you in a while, old friend. Welcome back!
Keep on capturing time...
Darrell Young
See my Nikon books here:
http://www.photographywriter.com/NikonBooks.asp
I've been shooting with Nikon SLR and DSLR cameras for about
32 years now. I've also been buying lenses for those same camera bodies.
Looking back in time, I've come to some conclusions about the
importance of camera bodies and lenses. Which is more important over
time?
While the shapes and sizes of my Nikon camera bodies have changed over the years and the functionality built into each camera body has increased, my lenses have pretty much remained constant.
During your photographic journey, camera bodies will come and go, especially in the digital world. Camera bodies are like computers and become obsolete within a few years. You don’t absolutely have to buy a new camera when the new ones come out. I have a nine-year-old DSLR camera body (Nikon D100) that works perfectly.
However, new cameras add more features and may even increase the quality of the image, so you’ll upgrade. Your photographic enthusiasm will insist; even if your partner or spouse does not understand why. One of the reasons photography is so expensive is that—nearly every time you want a new accessory—you will have to buy something new for your partner too. If you buy a new accessory-shoe-mounted GPS unit for your camera, your partner isn’t going to settle for a nice coffee mug! I hope your partner is someone that loves photography too.
A few years ago, I bought my wife a new camera for our anniversary. She likes photography too, thank goodness. Now, when I want a new lens, all I have to do is buy her one too and all is well.
If your partner doesn’t like photography, try to get him or her involved in some expensive hobby. Then when you want a new camera body, you can simply buy an expensive goody for your partner’s hobby too. Learn these lessons well because if you are like most of us, photography can become a passionate endeavor that involves not only the pleasure of a beautiful image, but also the enjoyment of owning quality camera equipment. Go for quality equipment and you’ll get back quality images.
I’ve found that showing extra affection for several weeks before a major camera purchase works wonders. That and new stuff for the partner too. Be careful though; once I bought myself a new lens and a new vacuum cleaner for my wife. I never knew a female of the species had enough upper-body strength to swing a vacuum cleaner like a baseball bat as she chased me from the house. Right after that is when I bought her the new camera. I figured it out! Get it right and you’ll do well.
Just like there are vaious levels in cameras—from consumer to pro—there are also lens levels. There are lenses made of plastic and good glass that only cost a few bucks and lenses made of metal and exotic glass that cost as much as a new compact car.
In reality (remember this), lenses are much more important than the camera body. Where camera bodies will come and go, lenses last for a very long time—if you buy good ones. I have lenses from the mid 1970s that work perfectly well on my newest DSLR cameras. I bought well-made lenses and they have never worn out on me. I treat them like babies, of course, but the point is—they can last a lifetime. This is why it is so important to choose wisely when selecting a camera brand. You want a manufacturer that has longevity and makes lenses that will last—like Nikon.
When I look back over the many years since I started shooting with a degree of professionalism, I remember many camera bodies that I used to own and no longer have. I miss some of them, such as my old Nikon F4 body. However, the majority of the lenses I've ever owned are still in my camera bags. They are still mine and will be until I pass them on to my heirs. In my opinion, lenses are the most important items in photography. Camera bodies will come and go, but lenses will stay.
If you aren’t buying lenses that you would be proud to hand down to your heirs, you may need to rethink your lens purchases. Lenses are the crown jewels in the photography world. Don’t skimp on your lenses. Buy the best you can afford and your images will thank you for it.
Keep on capturing time...
Darrell Young
See my Photography books at:
http://www.photographywriter.com/NikonBooks.asp
While the shapes and sizes of my Nikon camera bodies have changed over the years and the functionality built into each camera body has increased, my lenses have pretty much remained constant.
 |
| Nikon FM with AI-s Nikkor 50mm f/1.8 Lens |
During your photographic journey, camera bodies will come and go, especially in the digital world. Camera bodies are like computers and become obsolete within a few years. You don’t absolutely have to buy a new camera when the new ones come out. I have a nine-year-old DSLR camera body (Nikon D100) that works perfectly.
However, new cameras add more features and may even increase the quality of the image, so you’ll upgrade. Your photographic enthusiasm will insist; even if your partner or spouse does not understand why. One of the reasons photography is so expensive is that—nearly every time you want a new accessory—you will have to buy something new for your partner too. If you buy a new accessory-shoe-mounted GPS unit for your camera, your partner isn’t going to settle for a nice coffee mug! I hope your partner is someone that loves photography too.
 |
| AI Nikkor 50mm f/1.8 and 200mm f/4 lenses – mid-1970's lenses, still working great on my Nikon DSLRs |
A few years ago, I bought my wife a new camera for our anniversary. She likes photography too, thank goodness. Now, when I want a new lens, all I have to do is buy her one too and all is well.
If your partner doesn’t like photography, try to get him or her involved in some expensive hobby. Then when you want a new camera body, you can simply buy an expensive goody for your partner’s hobby too. Learn these lessons well because if you are like most of us, photography can become a passionate endeavor that involves not only the pleasure of a beautiful image, but also the enjoyment of owning quality camera equipment. Go for quality equipment and you’ll get back quality images.
I’ve found that showing extra affection for several weeks before a major camera purchase works wonders. That and new stuff for the partner too. Be careful though; once I bought myself a new lens and a new vacuum cleaner for my wife. I never knew a female of the species had enough upper-body strength to swing a vacuum cleaner like a baseball bat as she chased me from the house. Right after that is when I bought her the new camera. I figured it out! Get it right and you’ll do well.
 |
| Camera Levels - Consumer, Enthusiast, Semi-pro, to Pro |
Just like there are vaious levels in cameras—from consumer to pro—there are also lens levels. There are lenses made of plastic and good glass that only cost a few bucks and lenses made of metal and exotic glass that cost as much as a new compact car.
In reality (remember this), lenses are much more important than the camera body. Where camera bodies will come and go, lenses last for a very long time—if you buy good ones. I have lenses from the mid 1970s that work perfectly well on my newest DSLR cameras. I bought well-made lenses and they have never worn out on me. I treat them like babies, of course, but the point is—they can last a lifetime. This is why it is so important to choose wisely when selecting a camera brand. You want a manufacturer that has longevity and makes lenses that will last—like Nikon.
 |
| AF-S Nikkor 50mm f/1.4G and 16-85mm f/3.5-5.6G VR lenses |
When I look back over the many years since I started shooting with a degree of professionalism, I remember many camera bodies that I used to own and no longer have. I miss some of them, such as my old Nikon F4 body. However, the majority of the lenses I've ever owned are still in my camera bags. They are still mine and will be until I pass them on to my heirs. In my opinion, lenses are the most important items in photography. Camera bodies will come and go, but lenses will stay.
If you aren’t buying lenses that you would be proud to hand down to your heirs, you may need to rethink your lens purchases. Lenses are the crown jewels in the photography world. Don’t skimp on your lenses. Buy the best you can afford and your images will thank you for it.
Keep on capturing time...
Darrell Young
See my Photography books at:
http://www.photographywriter.com/NikonBooks.asp
Have you ever thought your camera's metering system
of choice was under or overexposing your images? If you are shooting
almost any Nikon from the D90 up, you have the ability to fine tune the
exposure, adding or subtracting up to one stop of exposure in 1/6 stop
increments.
This allows you to push your camera's exposure in
one direction or the other on a semi-permanent basis. I say semi
permanent because you can set it back to factory specs any time you
want. Fine tuning optimal exposure is like leaving the exposure
compensation settings on all the time, except that you don't have to
think about it with the fine-tuning system. You just test it (find best
exposure), set it, and forget it.
As I briefly mentioned before, the Fine tune
optimal exposure setting allows you to fine tune the Matrix metering,
Center-weighted area metering, and Spot metering systems by +1/-1 EV in
1/6 EV steps. Nikon has taken the stance that most major camera systems
should allow the user to fine tune them. The exposure system is no
exception.
You can force each of the three metering systems to
add or subtract exposure from what it normally would use to expose your
subject. This stays in effect until you set it back to zero. It is
indeed fine tuning, since the maximum 1 EV step up or down is divided
into six parts (1/6 EV). If you think your camera mildly underexposes
highlights and you want it to add 1/2 step of exposure, you simply add
3/6 EV to the metering system. (Remember basic fractions: 1/2 equals
3/6.)
As mentioned, Fine tune optimal exposure works like
the normal compensation system, but it allows only one EV of
compensation. As shown in figure 1, screen 3, an ominous-looking warning
appears when you use Fine tune optimal exposure. It lets you know that
your camera will not display a compensation icon, as it does with the
+/- Exposure compensation button, when you use the metering fine-tuning
system. This simply means that while you have fine tuning dialed in for
your light meter, the camera will not remind you that it is fine tuned
by showing you a compensation icon. If it did turn on the compensation
icon (+/- on the Control panel and in the Viewfinder), it couldn’t use
that same icon when you use normal compensation.
You use the Custom Setting Menu > b
Metering/exposure > Fine tune optimal exposure setting to adjust the
exposure. Here is the actual Custom Setting number on several common
Nikons. This feature is only available on advanced, semi-pro and pro
cameras:
- Custom Setting b4 – Nikon D90
- Custom Setting b5 – Nikon D7000
- Custom Setting b6 – Nikon D300, D300S, D700, D3, D3S, D3X
- Custom Setting b7 – Nikon D200, D2X, D2XS
Here are the screens used to set the exposure fine
tuning in a Nikon D7000 (screens may vary slightly in other Nikons but
not drastically):
Figure 1 – Choosing Fine tune optimal exposure settings
Use the following steps to choose b5 Fine tune optimal exposure settings:
- Select b Metering/exposure from the Custom Setting Menu and scroll to the right (figure 1, image 1).
- Select b5 Fine tune optimal exposure and scroll to the right (figure 1, image 2).
- Select Yes from the warning screen and scroll to the right (figure 1, image 3).
- Select the metering system you want to adjust. In figure 1, image 4, I selected Matrix metering. Scroll to the right.
- Scroll up or down in 1/6 EV steps until you reach the fine-tuning value you would like to use (figure 1, image 5, red arrow).
- In figure 1, image 6, I selected +3/6 (1/2 step EV). Press the OK button to lock in the fine-tuning value for the metering system you selected in step 4.
That’s all there is to it! Remember that you have
Fine tune optimal exposure turned on because the camera will not remind
you. Watch your histogram to make sure you’re not regularly
underexposing or overexposing images when you have the fine-tuning
adjustment in place. If needed, adjust the fine tuning up or down, or
turn it off. You must fine tune each metering system separately.
Note for D7000 users: Fine tune optimal exposure
applies only to the user setting (U1, U2, or non-user setting) you are
currently working with. If you are working with U1, then U2 and non-user
settings are not changed. Be sure to save the user setting in the Setup
Menu if you change one of them.
My Recommendation: Fine tune optimal exposure is a
rather controversial setting. On my older Nikon D300, I found that I
took better pictures when I ran the Matrix meter 3/6 (1/2 EV step) over
the normal setting. The D300’s Matrix metering seemed a bit conservative
to me and it worked a little too hard to keep from blowing out the
highlights in my images. It seemed to underexpose them by about 1/3 EV
step most of the time. I could see this underexposure because on most of
my Matrix meter exposed images, the histogram didn’t quite make it to
the right edge (lighter values) of the histogram window, which I prefer.
I like to expose for the highlights, yet my older D300 seemed to
slightly underexpose.
I do not need to change the default on my D7000. If
anything, it tends to expose a little on the bright side. If I were to
make an exposure adjustment on this camera, I would try –1/6 as a test.
However, I doubt that I will make this adjustment on the D7000.
Remember that adjusting an exposure is always an
experiment. If you choose to fine tune any of the three metering
systems, you should thorougly test it before you do an important shoot.
The way I fine tune my camera is based on my own photographic style, and
my results can’t guarantee that you would get the same results. It
certainly won’t hurt to play with these settings—as long as you remember
to set them back to 0 when you’re done—if they don’t perform the way
you expect.
Keep on capturing time...
Darrell Young
See my Nikon books at:
When you are using the camera's autofocus tracking system on a moving subject and something gets between you and the subject, what will your camera do? Will it forget about the subject it was tracking and grab focus on the intruding object, or will it ignore the intruder and keep right on tracking your original subject?
The answer to this question is related to how you have the custom setting called "lock-on" set. Focus tracking with lock-on allows you to select the length of time that your camera will ignore an intruding object that blocks your subject. It is found in the Custom Setting Menu under a Autofocus.
How does it work? Let’s say you are focused on a bird flying past you. As you pan the camera with the bird’s movement, the autofocus system tracks it and keeps it in good focus. As the bird flies by, a road sign briefly interrupts the focus tracking as the bird moves behind it and then re-emerges. How would you feel if the bright, high-contrast road sign grabbed the camera’s attention and you lost tracking on the bird? That would be quite aggravating, wouldn’t it?
Nikon provides Focus tracking with lock-on to prevent this from happening. The “lock-on” portion of this function helps your camera keep its focus on your subject, even if something briefly comes between the camera and subject. The camera locks on to your subject doggedly if this function is enabled. Without Focus tracking with lock-on, any bright object that gets between you and your subject may draw the camera’s attention and cause you to lose focus on the subject.
The camera provides a variable time-out period for the lock-on functionality. Lock-on time-out allows an object that stays between the camera and your subject for a predetermined length of time to attract the camera’s attention. You can adjust the length of this time-out with a time period from Short to Long.
You’ll need to test the time-out length to see which works best for you. You might start with the factory default Normal and let something get between you and your subject. If you’d like the camera to ignore an intruding subject for a longer time, move the setting toward Long, or for less time, toward Short.
I wouldn’t suggest turning it Off unless you fully understand how it works and do not need focus tracking that locks on to your subject. Following are the screens to configure Focus tracking with lock-on:
Figure 1 – Focus tracking with lock-on configuration
The answer to this question is related to how you have the custom setting called "lock-on" set. Focus tracking with lock-on allows you to select the length of time that your camera will ignore an intruding object that blocks your subject. It is found in the Custom Setting Menu under a Autofocus.
How does it work? Let’s say you are focused on a bird flying past you. As you pan the camera with the bird’s movement, the autofocus system tracks it and keeps it in good focus. As the bird flies by, a road sign briefly interrupts the focus tracking as the bird moves behind it and then re-emerges. How would you feel if the bright, high-contrast road sign grabbed the camera’s attention and you lost tracking on the bird? That would be quite aggravating, wouldn’t it?
Nikon provides Focus tracking with lock-on to prevent this from happening. The “lock-on” portion of this function helps your camera keep its focus on your subject, even if something briefly comes between the camera and subject. The camera locks on to your subject doggedly if this function is enabled. Without Focus tracking with lock-on, any bright object that gets between you and your subject may draw the camera’s attention and cause you to lose focus on the subject.
The camera provides a variable time-out period for the lock-on functionality. Lock-on time-out allows an object that stays between the camera and your subject for a predetermined length of time to attract the camera’s attention. You can adjust the length of this time-out with a time period from Short to Long.
You’ll need to test the time-out length to see which works best for you. You might start with the factory default Normal and let something get between you and your subject. If you’d like the camera to ignore an intruding subject for a longer time, move the setting toward Long, or for less time, toward Short.
I wouldn’t suggest turning it Off unless you fully understand how it works and do not need focus tracking that locks on to your subject. Following are the screens to configure Focus tracking with lock-on:
Figure 1 – Focus tracking with lock-on configurationThe screens shown above were taken from a Nikon D7000. There is some variance in which Custom Setting Number is used for Focus Tracking with Lock-On. Where the D7000 uses Custom Setting a3, the Nikon D300, D300S, D700, D2X, D3, D3S, and D3X uses Custom Setting a4. The lower end Nikons have a form of this function but you have no control over the settings.
With the variable timeout period (figure 1, screen 3) you can fine-tune how you want Focus tracking with lock-on to work. The camera can ignore an intruding subject for up to several seconds.
With Single-point AF, the camera will start the lock-on time-out as soon as the single AF point is unable to detect the subject.
With Dynamic-area AF or Auto-area AF and Focus tracking with lock-on enabled, I was amused at how adamant the camera was about staying with the current subject. I’d focus on a map on the wall and then cover most of the focusing points with the user’s manual. As long as I allowed at least one or two AF points to remain uncovered so it could see the map, the focus did not switch to the manual. I could just hear the camera muttering, “Hah, you can’t fool me. I can still see a little edge of that map there, so I’m not changing focus!”
Only when I stuck the camera's manual completely in front of the lens, covering all the AF points, did the camera decide to start timing the Focus tracking with lock-on time-out. After a few seconds, the camera would give up on the map and focus on the manual instead.
Try this yourself! It’s quite fun and will teach you something about the power of your camera’s AF system. It will also let you see how long each setting causes the timeout to last, so that you can choose your favorite.
Does Lock-On Cause Autofocus to Slow Down?
Focus tracking with lock-on is an autofocus algorithm that allows your camera to maintain focus on a subject and ignore anything that comes between the camera and the subject for a period of time. It will “lock-on” that subject and track where it is on the array of AF points in the Viewfinder. Focus tracking with lock-on is controlled by configuring Custom setting a3 or a4 (per camera) to a duration period or to Off.
Some misunderstanding surrounds this technology. Since it is designed to cause the autofocus to hesitate for a variable time period before seeking a new subject, it may make the camera seem sluggish to some users.
But, this “sluggishness” is really a feature designed to keep you from losing your subject’s tracked focus. Once the camera locks on to a subject’s area of focus, it tries its best to stay with that subject even if it briefly loses the subject. This keeps the lens from racking in and out and searching for a new subject as soon as the previous subject is no longer under an AF point.
It also causes the camera to ignore other higher-contrast or closer subjects while it follows your original subject. You will have to judge the usefulness of this technology for yourself. I suggest that you go to some event, or down to the lake, and track moving objects with and without lock-on enabled. Your style of photography has a strong bearing on how you’ll use—or whether you’ll use—Focus tracking with lock-on.
Focus tracking with lock-on has little to do with how well the camera focuses. Instead, it is concerned with what it is focused on. There are several good reasons to leave Focus tracking with lock-on enabled in your camera.
If Focus tracking with lock-on is set to Off, Dynamic-area AF and Auto-area AF will instantly react to something coming between your subject and the camera. When you enable Focus tracking with lock-on, the camera will ignore anything that briefly gets between you and your subject. If you turn it off, your camera will happily switch focus to a closer subject even if it only appears in the frame for a moment. A good example of this is when you are tracking a moving subject and just as you are about to snap the picture, a closer or brighter object enters the edge of the frame and is picked up by an outside sensor. The camera may instantly switch focus to the intruding subject.
If you turn off Focus tracking with lock-on, you’ll have a camera that doesn’t know how to keep its attention on the subject you are trying to photograph if something interferes. When using Dynamic-area AF or Auto-area AF modes, I call turning off Focus tracking with lock-on “focus roulette!”
Configuring Focus tracking with lock-on is not difficult. However, you’ll need to decide just how long you want your camera to lock on to a subject before it decides that the subject is no longer available.
Should I Use Focus Tracking with Lock-On?
I leave Focus tracking with lock-on enabled at all times. When I’m tracking a moving subject, I don’t want my camera to be distracted by every bright object that gets in between me and the subject. Nikon gives us variable focus lock time-outs so we can change how long the camera will keep seeking the old subject, when we switch to a new one. I suggest you play around with this function until you fully understand how it works. Watch how long the camera stays locked on one subject’s area before an intruding object grabs its attention. This is one of those functions that people either love or hate. Personally, I find it quite useful for my type of photography. Try it and see what it does for you.
Keep on capturing time...
Darrell Young
With the variable timeout period (figure 1, screen 3) you can fine-tune how you want Focus tracking with lock-on to work. The camera can ignore an intruding subject for up to several seconds.
With Single-point AF, the camera will start the lock-on time-out as soon as the single AF point is unable to detect the subject.
With Dynamic-area AF or Auto-area AF and Focus tracking with lock-on enabled, I was amused at how adamant the camera was about staying with the current subject. I’d focus on a map on the wall and then cover most of the focusing points with the user’s manual. As long as I allowed at least one or two AF points to remain uncovered so it could see the map, the focus did not switch to the manual. I could just hear the camera muttering, “Hah, you can’t fool me. I can still see a little edge of that map there, so I’m not changing focus!”
Only when I stuck the camera's manual completely in front of the lens, covering all the AF points, did the camera decide to start timing the Focus tracking with lock-on time-out. After a few seconds, the camera would give up on the map and focus on the manual instead.
Try this yourself! It’s quite fun and will teach you something about the power of your camera’s AF system. It will also let you see how long each setting causes the timeout to last, so that you can choose your favorite.
Does Lock-On Cause Autofocus to Slow Down?
Focus tracking with lock-on is an autofocus algorithm that allows your camera to maintain focus on a subject and ignore anything that comes between the camera and the subject for a period of time. It will “lock-on” that subject and track where it is on the array of AF points in the Viewfinder. Focus tracking with lock-on is controlled by configuring Custom setting a3 or a4 (per camera) to a duration period or to Off.
Some misunderstanding surrounds this technology. Since it is designed to cause the autofocus to hesitate for a variable time period before seeking a new subject, it may make the camera seem sluggish to some users.
But, this “sluggishness” is really a feature designed to keep you from losing your subject’s tracked focus. Once the camera locks on to a subject’s area of focus, it tries its best to stay with that subject even if it briefly loses the subject. This keeps the lens from racking in and out and searching for a new subject as soon as the previous subject is no longer under an AF point.
It also causes the camera to ignore other higher-contrast or closer subjects while it follows your original subject. You will have to judge the usefulness of this technology for yourself. I suggest that you go to some event, or down to the lake, and track moving objects with and without lock-on enabled. Your style of photography has a strong bearing on how you’ll use—or whether you’ll use—Focus tracking with lock-on.
Focus tracking with lock-on has little to do with how well the camera focuses. Instead, it is concerned with what it is focused on. There are several good reasons to leave Focus tracking with lock-on enabled in your camera.
If Focus tracking with lock-on is set to Off, Dynamic-area AF and Auto-area AF will instantly react to something coming between your subject and the camera. When you enable Focus tracking with lock-on, the camera will ignore anything that briefly gets between you and your subject. If you turn it off, your camera will happily switch focus to a closer subject even if it only appears in the frame for a moment. A good example of this is when you are tracking a moving subject and just as you are about to snap the picture, a closer or brighter object enters the edge of the frame and is picked up by an outside sensor. The camera may instantly switch focus to the intruding subject.
If you turn off Focus tracking with lock-on, you’ll have a camera that doesn’t know how to keep its attention on the subject you are trying to photograph if something interferes. When using Dynamic-area AF or Auto-area AF modes, I call turning off Focus tracking with lock-on “focus roulette!”
Configuring Focus tracking with lock-on is not difficult. However, you’ll need to decide just how long you want your camera to lock on to a subject before it decides that the subject is no longer available.
Should I Use Focus Tracking with Lock-On?
I leave Focus tracking with lock-on enabled at all times. When I’m tracking a moving subject, I don’t want my camera to be distracted by every bright object that gets in between me and the subject. Nikon gives us variable focus lock time-outs so we can change how long the camera will keep seeking the old subject, when we switch to a new one. I suggest you play around with this function until you fully understand how it works. Watch how long the camera stays locked on one subject’s area before an intruding object grabs its attention. This is one of those functions that people either love or hate. Personally, I find it quite useful for my type of photography. Try it and see what it does for you.
Keep on capturing time...
Darrell Young
See my Mastering The Nikon DSLR books at:
http://www.photographywriter.com/NikonBooks.asp
