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Volume 3
2PAG2ES P0LU+S
W
elcome to the new Ultimate
Nikon SLR Handbook: Volume 3.
In this fully updated and revised
Nikon digital SLR photography 6 0 M IN U T E S
guide we’ve packed even more helpful camera
techniques and inspirational advice.
O F V ID E O !
The first chapter on camera skills offers a range
of features to help you master – and be more productive
with – your Nikon SLR. Learn all about the basics of
photography, then be inspired by our creative projects.
Chapter two is our nine-lesson Nikopedia. This complete
guide to camera techniques and photography concepts
will enable you to get to grips with specifics including
depth of field, exposure, white balance, and much more.
This is followed by 28 pages of expert Q&As. In chapter
four we reveal how to put this technical know-how into
practice with 20 projects you can attempt yourself
including shooting street candids, underwater
landscapes, silhouettes and more. If you get stuck,
watch the included video tutorials.
Finally, in chapter five we provide guides and reviews
of the most useful accessories you can buy for your
SLR, including the best Nikon lenses, tripods,
flashguns, editing software and printers – everything
you need to get the most out of your Nikon SLR.
Chris George, Series Editor
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NIKOPEDIA
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Q&A
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GEAR CRAFT
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ESSENTIAL ACCESSORIES
4 The Ultimate Nikon SLR Handbook: Volume 3 2015

CAMERA SKILLS
NIKOPEDIA
CHAPTER ONE Environmental portraits ..........................156
Self-portraits .............................................158
Camera skills 6 Soft-focus portraits .................................160
Boot camp .....................................................8 Low-angle shooting ..................................162
The ultimate guide to exposure ...............20 Foreground interest .................................164
The professional portrait guide ...............32 Underwater photography ........................166
Raw secrets ................................................44 Birds in flight .............................................168
12 Creative home projects ........................56 Painting with light ....................................170
Q&A
80 ways to sell your shots ........................68 Successful silhouettes ............................172
The histogram .......................................... 174
CHAPTER TWO Making a softbox .......................................176
Neutralising orange backgrounds..........178
Nikopedia 78 Macro lighting ...........................................180
Lenses: part 1 ............................................80 Camera user modes .................................182
Lenses: part 2............................................84 Lighting with snoots ................................184
Raw vs JPEG..............................................88 Tilt-shift effects ........................................186
Depth of field............................................. 92 Tethered shooting ....................................188
Exposure.................................................... 96
GEAR CRAFT
Sensor size ...............................................100 CHAPTER FIVE
Getting more from raw ...........................104 Essential accessories 192
The exposure triangle.............................108
The A-Z of Nikon lenses .............................194
White balance ...........................................112
Kit bag essentials ......................................216
CHAPTER THREE
Q&A 116
Our resident expert answers your Nikon
questions and solves your issues. If nobody
else can help, ask Chris!
CHAPTER FOUR
Gear craft 148
Magnifying your subject ..........................150
Reducing glare ..........................................152
Telephoto flowers ....................................154
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NIKOPEDIA
Page 8
Q&A
GEAR CRAFT
Page 32

CAMERA SKILLS
Camera skills
NIKOPEDIA
Boot camp ..................................................................8
The ultimate guide to exposure .................. 20
Page 44 The professional portrait guide .................. 32
Q&A
Raw secrets ............................................................44
12 Creative home projects .............................. 56
80 ways to sell your shots.............................. 68
Page 68
GEAR CRAFT
Page 56
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fit with our crash course!

GEAR CRAFT
Q Get photo
tand at ease troops! Are you ready to work Our course runs over five days, which are split up by
S hard to improve your shooting skills? Are you
going to make this the year that you truly
photographic subject and camera topic. On day one we
head to the hills to get down and dirty with exposure
master your SLR, and get really photo fit? If so, you’ve and landscapes. On day two we learn essential field
come to the right place. This is the Nikon Boot Camp skills – depth of field skills, that is – and use them for
– our intensive five-day course where our crack team of taking portraits of civilians. On the third day, we head
camera commandos will take you through the basics, back to camp to learn about why focusing is more a
and get you to think about photography like a true challenge when shooting still lifes. On day four the
soldier. Whether you’re a new photography recruit or a mission is moving targets, and using the right shutter
battle-scarred snapping squaddie, our instructors will speed to avoid disaster from a shaky trigger finger, and
get you through our SLR assault course. And through ensuring that we can freeze even the fastest of targets.
your own hard work you’ll come out the other side as a We finish off our Boot Camp by getting you to lose your
better sharp shooter, with all the essential survival fear of noise and be a master of the push up! So what
skills you need to make the most of your own Nikon SLR. are you waiting for? Grab your backpack and off we go…

CAMERA SKILLS
NIKOPEDIA
Q&A
ILLUSTRATIONS BY PAUL STERRY
GEAR CRAFT
WHAT YOU’LL LEARN…

DAY 1 DAY 2 DAY 3 DAY 4 DAY 5

EXERCISES IN EXPOSURE FIELD EXERCISES FOCUSED FITNESS MOVING TARGETS PUSH UP SKILLS
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CAMERA SKILLS
CAMERA SKILLS
5 60 30
12 15
50
2
8
1000 500
4
Bulb
2 1 2 4
DAY 1 LANDSCAPES
00
20
8
15
00
30 B 40
EXERCISES IN Every action has consequences

Exposure means balancing aperture, shutter
speed and ISO against the prevailing lighting
EXPOSURE
conditions. Here, nightfall combined with a
narrow aperture and a low ISO mean that we
need a very long (95-second) exposure, and so
the moving clouds and sea become a blur.
NIKOPEDIA
The secret to exposure is learning

when to trust your camera, and when
you need to exercise more control!
our Nikon is a powerful dark shadow areas in the same
Y weapon, and even
without intervention
shot. These can present
themselves at any time of day or
from you can take a pretty decent night. As your camera can’t expose
exposure, but there are two rules correctly for all areas, it needs
that any new recruit should learn, your help with the tactics.
and that all of us can forget in Second, with SLRs it’s usually a
battle. First, exposure needs more court martial offence to let bright
care when shooting a high- areas of your shot blow out, so the Use a third leg!
contrast scene – typically when highlights end up a detail-free, A tripod ia a
you have bright light sources and unrecoverable white splodge. cumbersome piece
of kit, but it’s not just
Q&A
useful for really long exposures.

A solid platform not only means
KIT INSPECTION you can use any shutter speed you
ESSENTIALS FOR BETTER EXPOSURES want, it also means you can choose
the aperture and ISO that really
suits your shot strategy.
ND GRAD FILTER ALARM CLOCK
D-SLRs don’t cope Landscapes
well with high often look their
contrast. Reduce best when the IMAGE BY
the brightness sun is low in KARUN RUKTANGTUM
difference the sky, so it Nikon D800, Nikon AF-S
between sky and pays to get up for 14-24mm f/2.8 ED,
GEAR CRAFT
land using a neutral density dawn. The light is less harsh and 95 secs, f/16, ISO100
graduated filter. They come in you get more surface shadows,
varying strengths; a good start is and because the light changes
a two-stop soft-edged one. quickly you get lots of variety.
TECHNICAL BRIEFING #01 T

ANN
TARGET respect the N
TE TO
rules of reciprocity! IEU AW
L . L
R
The controls for exposure can seem complex,
but it’s just like filling a glass with water!
How far you open the tap is the aperture.
The water pressure is the intensity of light.
The shutter speed is how long you leave the tap
running – if the light is low, you open the tap up
more or let it run for longer (or both).
ISO is the size of the glass. If light is scarce,
you can use a high ISO (a smaller glass).
There’s no fixed ‘perfect exposure’.

CAMERA SKILLS
CAMERA SKILLS
Give the meter a nudge
Your Nikon’s built-in meter is just
a guide, so be prepared to make
the shot darker or lighter than it
suggests. We recommend you start
using A (aperture-priority) mode and then use
exposure compensation to make this brighter or
darker. If you’ve completed basic training, you can
use M (manual) mode, which lets you tweak the
overall exposure much more quickly.
NIKOPEDIA
Anything but NEF is naff
Q&A
Set the Image Quality of your Nikon to RAW or
NEF. One of the many advantages of this format
is that it gives you more tonal detail, and more
flexibility to tweak the exposure of the image
on your computer back at base.
Seeing in the dark

Your camera can see things that you just
don’t see with the naked eye. You can boost
the ISO or use a long, long shutter speed (as in
GEAR CRAFT
this shot) to reveal hidden details in the darkest
corners of the scene.
ASSAULT
COURSE UNLOCK THE HISTOGRAM EYES TO THE RIGHT TURN ON THE BLINKIES
GET TO Make sure your SLR shows you its
exposure graph, or histogram. Go to
The more exposure you give the
shot, the further the graph goes to
If you don’t have time for graphs,
turn on Highlights in the Playback
GRIPS WITH Display Options in the Playback
menu, and enable this. Press Up as
the right. You want a histogram that
touches the right-hand edge, but
Display Options. You can then
review images so that burnt-out
GRAPHS you review the shot to see the graph. that doesn’t peak at the right. over-exposed areas blink at you!
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CAMERA SKILLS
CAMERA SKILLS
IMAGE BY CHARLES HILDRETH
DAY 2 PORTRAITS
Nikon D700, Nikon 85mm f/1.4G,
1/3200 sec, f/1.4, ISO400
FIELD EXERCISES
For shots with real impact, you need
control of what’s blurred and what’s Format FX
SLRs are better than compact
VKDUS,W·VDOODERXWWKHGHSWKRIÀHOG« cameras and cellphones because
NIKOPEDIA
they have bigger sensors, which

on’t ever forget this! field to control what’s blurred.
let you restrict depth of field more
DC A lens can only ever focus
precisely on one distance
Optical blur is what distinguishes
SLR photography from shooting
effectively. Full-frame FX SLRs let
you big up the blur to a greater degree
at a time, and so whatever you do, with a compact camera or
than possible with a DX Nikon SLR.
only one point (or plane) is cellphone, because it gives you
perfectly sharp. In practice, the power to defocus whole zones
thankfully, more of your picture of your image.
looks sharp because of a an optical The key control for depth of field
principle known as depth of field. is aperture, which you can easily
Controlling depth of field is one alter in A, S, P or M exposure FX DX
of the key skills that any sharp modes. But you need to learn that
shooter needs to master, because aperture alone is not enough. Use
it enables you to decide which bits your camera position and the focal
are in focus. Just as importantly, length of your lens to become a
you need to learn to use depth of master of this essential field craft.
Background blur
Q&A
Just because something is out of focus,

KIT INSPECTION doesn’t mean it isn’t distracting. It may even
PERFECT PARTNERS FOR PORTRAITS still be recognisable. There are degrees of
being out of focus, and you often need to
50mm f/1.8 Flashgun use more than a wide aperture to get the
The fastest lens Try to avoid bokeh effect you need. Make sure the model
with the widest using flash as isn’t too close to the background, and use a
maximum the main light longer lens to help increase the blur.
aperture you can source with
afford gives you portraits. Instead
more ability to limit depth of use it as a fill-in – day or night.
field for beautifully blurred The flash fills in ugly shadows
GEAR CRAFT
backgrounds. Two really under the nose and adds a real

affordable options are the Nikon sparkle (known as a catch light)
50mm f/1.8D and 50mm f/1.8G. to the person’s eyes.
TECHNICAL BRIEFING #02

TARGET the three NNINGS
NT A. JE
factors controlling SERGEA
depth of field
f/5.6
Aperture is the way of controlling depth of

field without changing your framing or
moving your feet. A narrow aperture makes
more of the shot in focus.
Target distance counts, too! The closer you f/11
get, the less depth of field there is.
Use your zoom to control depth of field.
A long telephoto lens will tend to achieve
more blur than a wide-angle lens. f/22

CAMERA SKILLS
CAMERA SKILLS
Eyes right!
Minimising the amount of your shot that’s
sharp is one of the most effective tricks
you can play with your SLR. But for this
type of shot to work, something needs
to be in focus that draws the eye of the
viewer and juxtaposes with the blurred
bits. With portraits, of people or animals,
you need to ensure that at least one of
your subject’s eyes is perfectly sharp (it
should be the one closest to the camera).
Then it won’t matter if the rest of the
head is progressively blurred.
NIKOPEDIA
Q&A
Mission: Impossible
With some subjects it’s
impossible to get
everything in focus,
however narrow an
aperture you use, or
whatever lens you own.
This is particularly so with
close-range targets. You’ll
soon learn the situations
GEAR CRAFT
where not everything can
be pin-sharp.
ASSAULT
COURSE 24mm at f/8 85mm at f/4.5 85mm at f/4.5
STAND OUT Getting everything in focus makes
for a dull shot here. A wide-angle
This is better, but you’ll get no
medal! We have now zoomed right
Now we have a portrait that is worth
a mention in despatches. The
FROM THE lens and a mid-sized aperture
combine to give you lots of depth of
out to the telephoto end, and set the
maximum aperture. But that
background has less detail, and our
man is standing further away from
BACKGROUND field, which, frankly, we don’t want. backdrop is still too distracting! it, so it’s perfectly defocused.
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CAMERA SKILLS
CAMERA SKILLS
DAY 3 STILL LIFE

FOCUSED FITNESS
The autofocus mechanism is one of
the hardest SLR systems for any
photographer to fully control
NIKOPEDIA
ocusing is easy to master trust the

F if you have plenty of
depth of field. If you use a
autofocus. But
you need to tell
wide lens with a narrow aperture it where to
and don’t get too close to your focus. In many
target, you won’t have a problem, situations, choosing
but start using a long telephoto, the focus point is not
GENERAL C. GEORGE
a macro, or a wide-aperture prime enough. The AF feeds off contrast,
at it widest aperture and you’ll so you need to point it at
soon find that getting the camera something with an edge or with
to focus accurately and reliably on some texture that it can lock onto.
the right point takes some skill. Most importantly, get into the
Focusing manually by simply habit of checking your shots are
looking through the viewfinder is sharp before you leave the scene
useless on a D-SLR. You have to and lose the ability to reshoot!
Q&A
KIT INSPECTION TECHNICAL BRIEFING #03

BACKPACK ESSENTIALS FOR SHARPER SHOTS TARGET get
LOUPE 17-55mm f/2.8 straight to
It is hard to use The faster the the point!
the LCD screen maximum Different Nikons have different
to check focus aperture of your numbers of autofocus points.
outdoors on a lens, the faster Your SLR can pick the one to
use, but it’s good practice to get
bright day. A and more sensitive used to selecting it yourself.
magnifying loupe, like this one your autofocus will be. The fast Choose the Single Point AF
from Hoodman, lets you see maximum aperture of the Nikon mode, then use the four-way
GEAR CRAFT
what’s on the LCD screen more 17-55mm f/2.8G makes it a great controller on the back of the camera to choose the one that you want,
easily by cutting out glare and choice if you want to upgrade the which will light up. The autofocus needs to be awake and working, so you
distracting reflections. kit lens for your DX-format D-SLR. may need to give the trigger a squeeze before you pick your point.
ASSAULT
COURSE THE SINGLE LIFE WAIT FOR THE GREEN LIGHT LIVE ROUNDS
MIRRORING If your subject isn’t moving, make
sure you don’t use the continuous
Gently squeeze the trigger to get the
autofocus to fire up. When it finds its
In low light, or when you’re very
close to your target, it can often be
A TARGET’S AF-C mode. Your lens focuses faster
and more accurately with the single
target and locks on, a green light
appears in the viewfinder (and you
easier and more accurate to focus
using Live View. You then autofocus
POSITION shot AF-S focus mode. get an optional beep too). on any point in the frame.

CAMERA SKILLS
CAMERA SKILLS
Pixels on parade IMAGE BY
Don’t just assume
ZACHARY VOO
your SLR has taken a
Nikon D600,
sharp shot. Check it.
Nikon 50mm f/1.4,
Replay the image and
1/100 sec, f/2.8, ISO200
zoom right into key
areas to check you
don’t need to reshoot.
NIKOPEDIA
Q&A
GEAR CRAFT
Close encounters
How close you can go
depends on the lens
you’re using. The 50mm
f/1.4 used here has a

minimum focusing
distance of 45cm.
Wait for support
A tripod can be a great help when precision
focusing is necessary, such as with close-ups.
Pick a target Even a millimetre more or less camera-to-
You need to pick the spot that
subject distance makes a difference. You can
you’re going to focus on carefully,
use manual focus, Live View and a zoomed-in
especially if you have or want
preview to check that the target is pin-sharp.
limited depth of field.
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CAMERA SKILLS
CAMERA SKILLS
DAY 4 ACTION
MOVING TARGETS
Beat the shakes with our handy
Image is everything
The speed of the subject
doesn’t dictate the shutter
speed you need to use to
freeze the action – it’s the
speed at which it moves across
ÀHOGJXLGHWRWKHEHVWVKXWWHUVSHHGV the frame that counts. If a bike
to suit every shooting occasion is close to the lens you need a
NIKOPEDIA
faster shutter speed than for a

he first rule of Boot Camp that’s fast enough to allow for the
fighter jet on the horizon,
T is that if there’s blur in
your pictures it has to be
involuntary movements of your
arms and body. How fast you need
because it’s moving across the
viewfinder faster.
there deliberately! There are no to go will depend on things such as
excuses for camera shake, and how fit you are and how cold it is,
moving targets should be frozen, but also on the focal length of the
unless you want to use a blurry lens you’re using. The longer the
effect for artistic reasons. lens, the more obvious any slight
The key to achieving these movement in the lens becomes in
things is to use the right shutter the image, necessitating a faster
speed for the job. Your first stop is shutter speed than if you had a
to avoid the shakes. If you’re wider angle of view. But if you’re in
hand-holding your camera, the any doubt, always play safe and go
image isn’t completely still, and for a faster shutter speed than you
you need to set a shutter speed think you need!
Q&A
KIT INSPECTION
FAST-ACTION BOLT-ONS FOR SHARP SHOOTERS
70-200mm f/2.8 1.4x teleconverter
A long lens is the A teleconverter is
tool of choice for a great portable
wildlife and add-on for
sport. How long a giving you more
lens you need will firepower when
vary, but one with a you need to crop in
fast maximum aperture will help that bit closer. They only work
GEAR CRAFT
IMAGE BY PHILIP PLATZER

you focus faster, get higher effectively with certain faster
Nikon D4, Nikon 16mm f/2.8D Fisheye,
shutter speeds and isolate the lenses, so shop with care and
1/1600 sec, f/11, ISO400
action from the background. check the requirements.
TECHNICAL BRIEFING #04

TARGET
BANISH CAMERA SHAKE
The standard way of working out which

shutter speed to use is the reciprocal rule:
ISW
if using a 50mm lens, you need to use a

LE
shutter speed of 1/50 sec or faster. For a

S.
500mm, use a minimum of 1/500 sec.

TE
If you use a DX camera, you need to take

VA
the crop factor into account and multiply

I
PR
the shutter speed by 1.5, so use 1/750 sec

with a 500mm lens.
If you use VR you can get away with a
slower speed, if the subject isn’t moving. 1/500 sec 1/125 sec 1/30 sec 1/8 sec

CAMERA SKILLS
CAMERA SKILLS
Take a selection
In some low-light situations,
you just have to give it a go and
use a shutter speed slower
than the guidelines suggest.
Our tip here is to take several
shots, because one will always
be sharper than the others…
although this only works for
stationary subjects.
NIKOPEDIA
Frozen landscape
Shot with a 16mm lens on
a full-frame camera, the
minimum textbook shutter
speed for this shot would be
around 1/15 sec. However, the
Q&A
fast-moving snowboarder
means we need a much faster
speed to freeze the movement.
GEAR CRAFT
ASSAULT
COURSE SHUTTER SPEED: 1/1000 sec SHUTTER SPEED: 1/250 sec SHUTTER SPEED: 1/30 sec
PLOTTING A It’s the speed relative to you that
matters, not your subject’s actual
You can get away with a shutter
speed that’s two stops slower (four
You can get away with slower
shutter speeds by keeping the car in
SUBJECT’S speed. If it’s moving across the frame
you need a faster shutter speed than
times as long) if the car is heading
towards you, but be warned, the
your sights and tracking its
movement. These panning shots
TRAJECTORY if it’s heading towards you. autofocus is more likely to fail! artistically blur the surroundings.
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CAMERA SKILLS
CAMERA SKILLS
DAY 5 TRAVEL CA
P TA
IN
A.
PUSH UP SKILLS
NI
CH
OL
S ON
To be effective in the dark you need to

lose any fear of pushing up the ISO
and take the grain with the gain!
NIKOPEDIA
oo many photographers Boosting the camera’s electronic

T have an irrational fear of
pushing up the ISO. Years
gain is a very simple and effective
way of beating unintentional blur
ago, changing ISO meant changing created by camera shake or
your film, but nowadays you can subject movement. Remember, it’s
tweak your Nikon’s all-important always better to have a grainy shot
sensitivity control for every shot. than a blurry one.
The fear today is of noise – digital Second, high ISO settings are
grain that creeps in gradually as liberating. They let you take
you turn up the ISO. pictures in situations where you
However, there are two good simply wouldn’t otherwise get a
reasons you should learn to love shot: in places where you just can’t
the big-number ISO settings. The use a tripod, or even in places that
first is to remember the first rule are so dark you can’t even see
of Boot Camp (see page 16)... what’s front of your eyes.
Q&A
KIT INSPECTION TECHNICAL BRIEFING #05

MUST-HAVE ADD-ONS FOR A TOUR OF DUTY TARGET
LOW NOISE HIGH NOISE
Tripod Superzoom Love The NOISE!
A tripod is a To travel light ISO follows a scale where
each time you double the
necessity, not a but leave as
number you get a one-stop
luxury. If you many photo increase in sensitivity.
shoot a static opportunities So, going from ISO100 to
subject, you should open as possible, ISO1600 is a four-stop
use one unless there’s an consider using an all-in-one improvement, allowing you
operational reason not to! It superzoom lens with built-in to increase the shutter speed
from 1/8 sec to 1/125 sec (if
GEAR CRAFT
frees you up to use low ISOs even optical stabilisation, such as the 100 400 1600 6400
in low light, and gives you a freer DX Nikon 18-200mm, or FX Nikon the aperture and overall LOW HIGH
exposure stay the same). ISO ISO
choice of aperture and speed. 28-300mm.
ASSAULT
COURSE WHY YOU NEED WHITE BALANCE TWEAKING THE COLOURS NEUTRALISE THE ORANGE
IMPROVE On the parade ground we like our
whites to look white! The auto white
In artificial lighting, images can look
a touch orange or green. To correct
The Incandescent setting
(represented by a light bulb) is the
YOUR balance (AWB) system can usually
do this for you, but in some
for this cast, switch the white
balance to manual and play with the
one to use to tweak images that look
too orange. To beat a green tinge, try
BALANCE situations, colours can look wrong… different preset options. the Fluorescent strip-light option.

CAMERA SKILLS
IMAGE BY TOM MACKIE
Nikon D800,
Go to extremes
Investigate the highest ISO
Nikon 24-70mm f/2.8G ED,
settings your SLR offers (often
1/30 sec, f/5.6, ISO3200
labelled H). The grain and
blotchy colour are an artistic
effect in their own right, and
enable you to take pictures in
near total darkness.
Handheld
helper
Tom Mackie shot this
picture at the Taj
Mahal – just the sort of
place where you wouldn’t
be able to use a tripod even if
you had one. His solution was to
NIKOPEDIA
whack up the ISO to 3200 so he
could come home with a sharp
handheld interior shot.
Q&A
GEAR CRAFT
Switch to automatic
If you struggle to switch the ISO

early enough or at the right
time, try setting your Nikon SLR
to Auto ISO. It’s surprisingly
good, and you can even set up
the maximum ISO and minimum
shutter speed you’re prepared
to put up with.
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BEN BRAIN’S ULTIMATE GUIDE TO...
EXPOSURE
NIKOPEDIA
Master the art of exposure, discover the mysteries of the histogram, and get
creative with metering. Ben Brain tells you everything you need to know…
Q&A
GEAR CRAFT
nderstanding how exposure works is seascape, you’ll need to understand the get the best out of your exposures, and they
probably the most fundamental basics of exposure. are all without doubt useful, but concentrate
photographic skill you need to master. At first it might seem like there are just too on the fundamental relationship between
Learn how to control your Nikon’s many options with apertures, histograms, aperture, shutter speed and ISO, and maybe
aperture, shutter speed and ISO and you’ll be ISOs, metering modes, f-stops and so on to even restrict yourself to manual mode to
able to take control of how your images look. juggle. However, once you understand the begin with, and you’ll learn the essence of
Whether you want to isolate the subject basic principles you’ll have all the tools you photography. We’re going to take you on a
of your photo from the background with a need to take control and get creative. whirlwind tour of all you need to know to start
shallow depth of field, or capture the misty Today’s digital SLRs come complete with an taking control of your exposures today. So,
Main image: Mario Tarello, www.tarello.it
effects of moving water as part of a moody armoury of functions and features to help you let’s get started!
P22 P24 P26 P28 P30

01 THE BASICS 02 METERING 03 HISTOGRAMS 04 TROUBLESHOOTING 05 BREAK THE RULES

CAMERA SKILLS
NIKOPEDIA
Q&A
GEAR CRAFT
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CAMERA SKILLS
CAMERA SKILLS
PART 1
BACK TO BASICS
Get to grips with apertures, speeds & ISOs
100
L OW
Creating a harmonious it’s really worth putting in the
RE )
exposure using the aperture, groundwork and getting to grips
(LES
OSU
NIKOPEDIA
shutter speed and ISO is a juggling with the basics of shutter speed
S EX
EXP
act. As soon as you make a decision (how long the camera’s sensor is
POS
ORE
about one element, you’ll need to exposed to the light), aperture (how
URE
W (M
)
compromise with another. The trick much light the lens lets in, which
SL O
is to get all three elements working also affects depth of field) and ISO
together so you get the results you (the sensitivity level of the sensor).
EED
want and not what the camera tells Once you know how to do this,
R SP
THE
ISO
you you can have. Because of that, there’s nothing you can’t do.
THE EXPOSURE TRIANGLE EXPLAINED T TE EXPOSURE

SHU
Understand how exposure works by
TRIANGLE
HIGH
E)
following this simple three-pointed guide
( MO
SUR
XPO
RE E
The relationship between shutter speed, aperture
SS E
XPO
and ISO is at the heart of all photography. At one
SUR
T (LE
time, shutter speed and aperture were the only

Q&A
E)
FA S
exposure variables you could change from one shot
160
to the next because the ISO was set by the type of
0
film you were using, but the introduction of digital
cameras has made it possible to change ISO on the
fly rather than unloading film or switching bodies. WIDE (MORE EXPOSURE) NARROW (LESS EXPOSURE)
Photographers now have more control over APERTURE
exposure than ever before.
8 15 30
B 4
2
1
40
GET UP TO SPEED WITH YOUR SHUTTER

15 8 4 2
00 2000 10
GEAR CRAFT
These little fractions of a second make a huge difference to your shots
30
00
50
The length of an exposure is controlled by your only open for a fraction of a second, but this is RULE OF THUMB 0
250 125
60
Nikon’s shutter. The shutter is a mechanism that often all that’s needed to capture an image. Fast It’s a good idea to
opens and closes extremely quickly when you shutter speeds are ideal for freezing action in a use a tripod whenever your shutter speed is
press the shutter release. fraction of a second or in situations that are very slower than the longest focal length of your lens
As you press, the mirror flips out of the way bright, while slow shutter speeds are perfect for because anything slower can lead to blur from
and a curtain opens to reveal the sensor. While capturing the motion of water or capturing detail camera shake when handholding. For example, if
it’s open, it exposes the sensor to the light and an in low-light situations. Moving objects will blur if you’re using an 80-200mm lens, consider using a
image is recorded. In most cases the shutter is your shutter speed is too slow, however. tripod for exposures slower than 1/200 sec.
1/1000 SEC 1/60 SEC 1/8 SEC 1 SEC

One-one-thousandth of a second is a One-sixtieth of a second keeps some At one-eighth of a second, the blur A full second of exposure, and
fast shutter speed. It’s frozen the clarity to the water, but it’s starting has changed the water from motion blur removes all definition
movement of the water. to blur as it runs over the sink base. individual parts to one fluid mass. and a lot of contrast from the water.

CAMERA SKILLS
CAMERA SKILLS
BEING OPEN ABOUT APERTURE
7KHDSHUWXUHFRQWUROVWKHOLJKWHQWHULQJWKHOHQVDQGWKHGHSWKRIÀHOGLQWKHSLFWXUH
The amount of light passing through the lens is confusing at first, but you’ll soon get the hang of FAST LENSES
controlled by the aperture. The size of the it. In addition to controlling the amount of light Lenses come in different shapes, sizes, focal
aperture can vary in size to let in more or less that passes through the lens, the aperture also lengths and aperture ranges. A lens with a large
light. The size of the hole is measured in f-stop affects the depth of field. This allows you to widest aperture, such as f/2.8 or f/1.4, is often
numbers, and the range usually varies from its control the parts of a scene before and beyond referred to as a ‘fast’ lens. They’re typically more
widest setting, be that f/2.8 or f/5.6, to f/22 the point of focus that also appear sharp. This is expensive too, but their ability to control depth
(which is nearly closed). This can seem a little an exceptionally useful thing to understand. of field is unrivalled.
NIKOPEDIA
f/2.8 f/5.6 f/11 f/22
Wide open for many lenses, f/2.8 At f/5.6, the background is still At f/11 the structure of the fence at At f/22 the background is quite
blurs the background and makes blurred. DOF is partly controlled by the bottom-right begins to reveal defined and the subject no longer
the subject appear to be separated focal length – the longer the lens, itself, and the subject’s separation stands out. Diffraction starts to
from it so it really stands out. the shallower at a given aperture. from the background begins to fade. take hold, softening the image.
SENSOR SENSITIVITY: ISO EXPOSURE MODES – WHICH TO CHOOSE
Q&A
There’s a bunch of exposure modes to choose
It’s like ‘turning up the volume’ from on your Nikon, but which will work best
in low-light conditions for you? It all depends on what you’re shooting…
ISO allows you to control how sensitive your
Nikon’s sensor is to light. The higher the
APERTURE-PRIORITY won’t be able to flex your creative
You choose the muscles. Ideal if you’re in a ‘point
number (such as ISO1000 or above), the
aperture and the and shoot’ frame of mind.
more sensitive the sensor will be. This is a good solution to low-light
camera will pick a
situations because it allows you to keep your shutter speed up and
use your Nikon without a tripod. However, like all things that sound
suitable shutter speed. Using this PROGRAM
mode will allow you to keep creative This is a little like the
too good to be true there’s a down side. Higher ISOs also introduce
control of your depth of field. Auto mode in that the
the dreaded ‘noise’ – pixels that aren’t the colour they should be
camera determines
– into your images, and sometimes this is not what you want.
SHUTTER-PRIORITY
GEAR CRAFT
the exposure for you. However, it’s
In this mode you select easier in program mode to intervene
HIGH ISO the shutter speed and when you want creative control.
In recent years Nikon has pioneered wonderfully noise-free
the camera will choose
high-ISO photography,
revolutionising low-light
an appropriate aperture. This is SCENE MODES
perfect for action photography These modes are
picture taking. However, if
when it’s important to know your tailored to specific
you still feel there’s too
shutter is at the right speed. shooting situations,
much noise in your images
and it’s pretty obvious from the
you can reduce it a little in
image editing software such
MANUAL MODE icons which one you need to use in a
In manual mode you set given situation. These modes can be
as Photoshop or Nikon’s
the aperture, shutter limiting, though, and they’re no
Capture NX 2.
speed and ISO without substitute for using your own skills.
any prompting from the camera.
This makes it ideal for creative
photography, but you’ll have to
know what you’re doing.
AUTO
ISO200 ISO6400 You’ll relinquish
exposure control to
your Nikon, so you
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CAMERA SKILLS
CAMERA SKILLS
PART 2
METERING MASTERCLASS
Learn how to use your Nikon’s metering options for perfect exposures
One of the most crucial make everything a mid-tone grey, so light meters, including the one in one tone – it’s probably going to be
things to understand about if you take a piece of white card and your Nikon, have been calibrated to made up lots of areas of bright and
NIKOPEDIA
exposure is how your camera photograph it with the exposure do this, so you need to fully dark tones and colours. This is why
measures light. Get to grips with your camera recommends, the understand this information and there are several metering modes
this and all your exposure anxieties image should appear grey. Likewise, use it to your advantage. to choose from, and, depending on
should disappear in a flash. In if you photograph a piece of black Of course, no scene you’re ever what you’re shooting, you’ll need to
essence your camera is trying to card it too should appear grey. All likely to photograph is going to be use different ones.
BLACK MIDTONE 18% WHITE
-2 EV -1 EV 0 EV +1 EV +2 EV
Q&A
NEGATIVE COMPENSATION NO COMPENSATION NEEDED POSITIVE COMPENSATION

GEAR CRAFT
Some subjects are intrinsically Most subjects even out to a With white, or naturally light
dark, so to make them appear that standard mid-grey tone, which is subjects, you need to apply positive
way in the photograph you need to what the camera’s meter is EV compensation to make sure
apply negative EV compensation calibrated to reproduce that they come out that way
EXPOSURE COMPENSATION
Why your meter sometimes gets it wrong, and what you can do about it
Despite being wonderfully clever, your move the thumb dial to the right to make your
Nikon won’t always know exactly how images brighter (+EV) or to the left (-EV) to
you want to expose your scene. It might be that make them darker. It’s quite
you want your image to be light and airy or easy to forget to set it to
dark and moody, or simply that there’s a zero again, so if at a
dominance of bright light that’s fooling the later time you’re
in-camera meter. wondering why your
In cases like this, if you’re working in exposures are looking
program (P), aperture-priority (A) or shutter- too dark or too light, it
priority (S) mode, you can use the exposure could be that you’ve
compensation feature on your Nikon to help still got some exposure
you out. Simply hold down the +/- button and compensation dialled in.

CAMERA SKILLS
CAMERA SKILLS
METERING PATTERNS EXPLAINED
Why you have a choice of metering patterns, and when to use them
NIKOPEDIA
01 MATRIX MODE 02 CENTRE-WEIGHTED MODE 03 SPOT MODE
A good all-purpose mode. The camera reads the As the name suggests, this mode makes an In this mode, the area being ‘read’ by the meter is
whole scene, but favours readings from the area assessment of the ideal exposure by focusing on focused on a tiny area, typically only a few per
around the active focus point. It’s great for the central area, but it also takes into cent of the whole frame. The reading is very
general situations where the lighting isn’t too consideration data from the whole frame. This is specific, which can be very useful if you want to
challenging, but it can easily get confused. a good default mode to keep your Nikon set to. evaluate a small aspect of your scene precisely.
AUTO EXPOSURE BRACKETING

Spread your exposures to make sure you get the perfect picture
Q&A
-2 -1 0 +1 +2
The bracketing feature on your Nikon is a great way to
ensure you get a perfect exposure. The basic idea is to take
several shots of your scene and then select the best one. This is
very useful if your subject is static, such as a landscape, but it
doesn’t work so well with moving subjects, such as portraits. It
was a more popular technique in the days of film photography
when there were no exposure aids such as
LCD screens, histograms and clipping
alerts to help you out. Set the
GEAR CRAFT
bracketing amount using the Function
button on your camera.
RIGHT When you bracket your

shots you choose the bracketing
interval and the number of frames
+1
AFTER
EXPOSURE LOCK BEFORE
Choose the area to meter
If you’re using the centre-weighted

or spot metering modes, it might
be that the area you want to expose for is
not actually right in the middle of the
frame. If this is the case, focus on the
subject you want to expose correctly.
Next, press the AE Lock button (AE-L) to save the settings. Now recompose
your scene and fire the shutter – the settings will be exactly those you locked
in, even though the scene may have changed.
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CAMERA SKILLS
CAMERA SKILLS
PART 3
LOVE THE HISTOGRAM

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It might look like a rather It’s essentially a graph that image’s exposure might look, it’s detail in your highlights or whether
daunting technical graph at illustrates the range of tones in not particularly accurate, and is you’ve over-exposed and they’re
first glance, but the histogram is your image, from black on the far better used to help with ‘clipped’. All Nikon SLRs and even
NIKOPEDIA
the most useful tool you have to left to white on the far right with a composition. The histogram, on the compact cameras have a display
help you capture the exposure you mid-tone (18%) grey in the middle. other hand, is the perfect tool for mode that shows the histogram,
want, every time. And it’s actually While your Nikon’s LCD display exposure assessment. You’ll be and we recommend keeping it on
not nearly as daunting as it appears. can give you an idea of how your able to see in an instant if you’ve got all the time.
01 Shadows The darkest parts of the scene

correspond to the left edge of the histogram
02 Midtones The medium tones in the

picture form the centre of the histogram
03 Highlights The brightest parts are over

at the right-hand end of the histogram
02
03
Q&A
01
GEAR CRAFT
UNDERSTAND THE HISTOGRAM THERE IS NO ‘RIGHT’ SHAPE – IT ALL DEPENDS ON THE SUBJECT
HIGH CONTRAST LOW CONTRAST MOSTLY DARK MOSTLY LIGHT
You’ll find most of the tones The tones are mostly in the centre The dark background means a big The white background and high-key
crowded at the left (shadow) or of the histogram, with very little in peak in the shadows, and a smaller exposure means nearly all the
right (highlight) the shadow or peak for the tones are
sections of the highlight areas skin tones in clustered on
histogram. of the graph. the middle. the right.

CAMERA SKILLS
CAMERA SKILLS
HIGHLIGHT ALERT HEED YOUR SLR’s WARNING!
Avoid exposure errors with this on-screen option
If a highlight area is ‘clipped’ there’ll be no detail

in that area and it’s effectively ‘blown out’. You’ll
never be able to recover any information, no matter
how good your digital darkroom skills. Because of this
it’s important to keep an eye on the highlights, and
looking at the histogram is the best way to see and
assess this. However, there will be times when you’ll
NIKOPEDIA
find yourself working in a situation where you simply
won’t have the time to stop, analyse and deliberate
over your histogram, such as when shooting a wedding.
In such a situation, activate the Highlights Alert. In this
display mode your LCD will flash in areas where the
highlights are clipped, giving a quick indication as to
which parts of your composition are going to blow out.
It’s then easy to dial in some exposure compensation
to deal with the problem.
RIGHT With the highlight alert switched on,

over-exposed areas flash black and white
EXPOSE TO THE RIGHT EXPERT TIP THE HISTOGRAM AND RAW FIRST TWEAKS
Q&A
:KHQ\RXVKRRWUDZÀOHV\RXFDQPDNHYLWDO
In some instances, this technical tweak could adjustments before the image is processed
improve your picture quality 2 3
Your Nikon’s LCD display isn’t
A great way to maximise your exposure is to use a technique called
the only place where you’ll
‘exposing to the right’. Ideally, you want to shoot so that your
see a histogram. Most decent
histogram graph is clumped as far to the right as possible without
image-editing software, such as
clipping areas that you don’t to appear blown out. The Highlight Alert 1
Photoshop, will feature a histogram
can be useful for this too (see above). When you open your image in a
display of your photo, and better
raw editor such as Adobe Camera Raw it will look too light and
still, allow you to tweak it. 01
washed out, but a few tweaks with the Curves or exposure slider will
Here you can see the histogram
quickly get things looking good again. Working this way essentially
displayed in Adobe Camera Raw
means you’ll be able to get a little more latitude from your initial
GEAR CRAFT
(ACR), the raw-processing plugin
exposure and push it further than if you made a ‘normal’ exposure.
that comes with Photoshop. Like
1 2 the display on your LCD, the graph
(1) shows the distribution of tones
throughout the image with black on
4
the far left and white on the far
right. The green and red triangles (2)
7
and (3) are clipping alerts. You can
use these to see if you’re being 5
overzealous with the sliders (4). In
ACR’s Basic panel there are six
sliders that directly affect 6
1
exposure, and they can be used to
recover detail in areas of shadow or
2 brightness (5), fine-tune white and
black points (6) and tweak the
overall contrast (7). No matter how
BEFORE AFTER well you’ve captured an exposure,
Adjust your initial exposure so that the histogram (1) is as far if you’re shooting in the raw format,
to the right as it will go without clipping. Then use Curves (2) which you really should be, it will ABOVE You can make important
to darken the image back for a more natural look most likely benefit from a slight adjustments using the histogram
boost to contrast. in your raw converter
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CAMERA SKILLS
CAMERA SKILLS
PART 4
ADVANCED EXPOSURE TRICKS

In tricky light situations good camera craft alone is sometimes not
enough, but there’s usually a cunning plan that will save the day…
Even the world’s most capture a range somewhere around especially in bright sunshine. exposures of a scene (usually
NIKOPEDIA
sophisticated digital five stops of exposure, which is However, there’s a cunning solution somewhere between three and
cameras won’t be able to capture a simply not enough to ensure there’s in the form of high dynamic range seven) and merge them together in
full range of tones in every detail in both the highlight and (HDR) photography. The basic the digital darkroom using
situation. Most cameras can shadow areas of many scenes, principle is to shoot several specialist software.
PROBLEM 1 HIGH CONTRAST

The range of tones is just too great for the camera’s
sensor to capture in a single exposure
SOLUTION 1 HDR
STEP 1
Set up your Nikon on a
sturdy tripod. Select
Q&A
aperture-priority mode,
so the depth of field
won’t change between
shots. Use a cable
release to avoid
touching the camera
between shots.
STEP 2
Select your Nikon’s
bracketing feature
using the function
GEAR CRAFT
button and then

choose a sequence of
five shots with a
one-stop difference between each shot. Finally,
shoot the sequence of images, which will range from
under- to over-exposed.
STEP 3
There are
many HDR
programs and
Photoshop
plugins
available.
Here we’re
using Nik software’s HDR Efex Pro 2. You can get a
free, fully functional trial version of this from
www.niksoftware.com. It’s delightfully intuitive and
produces great results. Whichever HDR software
you choose, it will merge your sequence of images to
create a single image with a full range of tones.

CAMERA SKILLS
CAMERA SKILLS
SOLUTION 2 SOLUTION 3 ND GRAD FILTER
EXPOSURE BLEND A neutral density
graduated filter (‘ND
HDR photography can have a
grad’) is the perfect tool
rather distinct look. While it
for landscape
can solve issues with exposure,
photographers who want
the overall style is not to
to balance the exposure
everyone’s taste, especially as
between the bright sky
some folk tend to be somewhat
and the slightly darker
overzealous with the sliders.
land. The filter fades
If you’d prefer a more subtle
from dark (dense) to light
NIKOPEDIA
approach, but still want detail
so that less light passes
in shadows and highlight areas,
through the dense area
then shoot two exposures: one
and the exposure evens
for the bright parts, such as the
out. To use, it’s simply a
sky; and one for the darker
case of attaching the
regions, such as the land. Use a
filter (usually a rectangular slot filter) to
tripod, so the images are in
the lens and lining up the area of
registration. In the digital
transition with the horizon. However, if
darkroom, using software such as Adobe
the horizon is uneven or there’s a tree
Photoshop CC/CS6 or Elements, you can easily
poking up it too will become darker,
sandwich the two images together as layers
which isn’t always ideal. It’s also
and then use a basic layer mask to reveal the
important to match the strength of the
best parts of each image.
filter to the brightness of the sky.
PROBLEM 2 MY BACKLIT SUBJECT IS IN SHADE PROBLEM 3 TOO BRIGHT FOR A SLOW EXPOSURE?
Q&A
SOLUTION 1 USE A REFLECTOR
In some situations you may find your
subject falls into shadow. Imagine,
for example, a portrait in which your
model is standing in front of a light.
If you expose for the subject’s face,
the background will become too
bright. However, you can ‘bounce’
light back at the subject
using a reflector.
Reflectors come in many
shapes, sizes and
GEAR CRAFT
colours, but they all serve
the purpose of reflecting
light back at your subject.
It’s useful to have a helper
to hold the reflector.
SOLUTION 2 FILL FLASH

Just as a reflector can be used to fill
in shadow areas, so too can a
flashgun. When there’s a strong,
contrasting light, a little flash can
SOLUTION USE AN ND FILTER
To slow exposures down on a bright day, when even

work a treat. Simply attach your
your lowest ISO (such as ISO100) and your narrowest
flashgun and use the flash exposure
aperture (such as f/22) still dictate a fast shutter
compensation to get the right
speed, try using a neutral density (ND) filter. This will
balance of light. Too much light and
prevent light passing through the lens. Remember,
your shot will look artificial, too little
though, that if you’re using a really dense one, such
and you won’t have any detail in the
as ten stops, you’ll need to use a tripod, and focus
shadows. Sometimes, it’s actually
and compose your scene before attaching the filter.
easier to get it right if you switch
These filters are perfect for creating misty
your Nikon and flash to manual.
seascapes in the middle of the day.
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CAMERA SKILLS
CAMERA SKILLS
PART 5
EXPERIMENT WITH EXPOSURE

Don’t do everything the ‘right’ way – break the rules!
Once you know the rules of means deliberately choosing to dimension in certain situations. under-exposing can give a shot a
exposure, you’ll be able to expose ‘imperfectly’ to create a Over-exposing a low-contrast dramatic, moody feel to interiors,
use them in creative ways. Breaking specific effect. subject and background can add portraits and many other subjects.
NIKOPEDIA
the rules doesn’t merely mean Things that might spoil most delicacy and an ethereal quality to Here are four ways to play with
getting the exposure wrong, it photographs can add a new portraits, for example, while exposure that break the rules.
EFFECT 1 CONTRE JOUR

Shooting into the light, otherwise known as
‘contre jour’, is one of the more challenging
situations to work in. The bright light of the
sun will confuse your reading, clump the
histogram to the far right and throw your
highlight clipping alert into a blinking frenzy.
However, it can also be a great way to add
depth and emotion to your shots. In these
conditions the best solution is switch to
manual mode and use your camera’s LCD
screen and highlight alerts to make sure
Q&A
you’ve got detail where you want it, but don’t

be afraid to let some areas burn out
completely. A winning shot doesn’t always
need detail in the deepest shadows and
brightest highlights.
Nikon D700, Nikon 20-35mm f/2.8D,

1/1250 sec, f/8, ISO200
EFFECT 2
SHAKE DOWN
GEAR CRAFT
Using a slow shutter

speed is a great way to
capture the swirling
motion of water. Usually
when using a slow shutter
speed you’d expect to
mount your camera on a
tripod so that the static
parts of the scene remain
sharp. In this shot we
were experimenting with
slow shutter speeds, but

using the camera
handheld and moving it
sightly during the
exposure. It might break EFFECT 3 LOW KEY
some conventions of Much of the shadow areas of this image have gone to pure
wisdom, but the results show that challenging conventional wisdom can work too! You’ll black, and the histogram is clumped to the left – this is a great
need to be prepared to experiment because there’s an element of trial and error. way to create a moody atmosphere.
Nikon D700, Nikon 20-35mm f/2.8D, 20 secs, f/22, ISO200 Nikon D700, Nikon AF-S 85mm f/1.4G, 1/200 sec, f/9, ISO200

CAMERA SKILLS
CAMERA SKILLS
EFFECT 4 HIGH KEY
Through a cunning combination of
lighting and exposure it’s possible to
create beautiful high-key images. The
trick is to work on the limits of the
histogram without blowing out the
highlights. There’s a big difference
between a high-key image and an
over-exposed one, so be careful to make
sure you always have just a little detail or
tone to your whitest areas, such as the
fine details in the lace of our model’s top
NIKOPEDIA
in the example here.
Nikon D700, Nikon 80-200mm f2.8,

1/125 sec, f/6.3, ISO200
Q&A
GEAR CRAFT
RIGHT This effect is easiest
to achieve if you have a low
contrast in tones between
the subject and background
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CAMERA SKILLS
CAMERA SKILLS
BEN BRAIN PRESENTS…
THE BIG POSER’S

NIKOPEDIA
PROFESSIONAL
PORTRAIT GUIDE
Q&A
Start taking professional-looking portraits today. Ben Brain reveals how to get
started with his no-nonsense guide to the essential compositional and lighting skills
or many people the idea of shooting to choose a lens and decide which aperture to use, enable you to take complete control of lighting so
F portraits in a studio with fancy lighting
equipment is so daunting that it’s quite
wrestling with reflectors, struggling with
softboxes or panicked by posing, you’ll learn all
you can go into a studio and shoot with
confidence. We’ll also take a look at lenses,
simply off-putting. This is a shame because it you need to get started. apertures, camera angles, posing the model and
really needn’t be intimidating, and the results can Using nothing more than a simple two-head more, skills which will be useful in other
be extremely rewarding. In this feature we’re home studio lighting kit you’ll learn how to create situations too. To finish, we’ll look at creative
GEAR CRAFT
going to guide you through the process of taking several studio set ups, from a classic Rembrandt aspects of portraiture and go off-piste with
studio portraits, with no-nonsense, jargon free to a more contemporary clamshell arrangement. modern crops, basic retouching skills, the
tips, techniques and advice. Whether you’re trying These easy-to-arrange strobe combinations will cross-processed look and more. Let’s get started…
WHAT YOU’LL LEARN…

P34 P36 P38 P40 P42

LENS CHOICES STUDIO BASICS FLASH PLACEMENT PERFECT POSING ARTY EFFECTS
Start by selecting the right Don’t be daunted! Here are the Get the most flattering Some subjects don’t know Take your portraits further
lens and aperture for the style six things you need to start results from your flash, and how to pose – but that’s okay, with classic techniques and
of portrait you want to take taking studio portraits learn classic lighting styles because you can direct them! 21st century trends

CAMERA SKILLS
CAMERA SKILLS
NIKOPEDIA
Q&A
GEAR CRAFT
Image: Ben Brain
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CAMERA SKILLS
CAMERA SKILLS
PART 1 | LENS CHOICES
SIZE DOES MATTER

The focal length of your lens and the aperture you
choose will have a dramatic effect on your shots
he lens plays a vital role in the creation proportions of your subject’s face, and can even
T
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of a beautiful portrait. There’s not give a caricature effect.

necessarily a right or wrong lens to use, While using nice fast, prime lenses is desirable
but rather the most appropriate for the subject they do come at a cost, and it’s important to
and location. Sometimes you might want to show remember that you can achieve stunning results
more of the background around your subject for with kit lenses and standard zooms. Some
an environmental portrait, while at others you specialist and toy lenses can be fun too, such as
might want to compress it and blur it to make a Lensbaby, tilt/shift lenses or even a pinhole.
your subject the supreme focus of attention. It’s not just a matter of focal length: which
In addition to affecting how much of the aperture you select is important too. See below
background is visible in your shots, different for how you can use depth of field to control
focal lengths will affect the shape and which parts of an image appear in focus.
UNDERSTANDING APERTURE Sharp or blurred?

Decide if you want your subject to be separated from, or be part of, her surroundings
Q&A
01 Blurred backgrounds
A wide aperture such as f/4 or f/2.8 will create
a shallow depth of field. This means that the
areas before and beyond the plane of focus
that will appear sharp will be very small.
This is ideal if you want to blur the background,
keeping only your subject sharp. However,
you’ll need to make sure your focusing is
accurate because it’s unforgiving. Focus f/4
on the eyes.
02 Best of both worlds

GEAR CRAFT
An aperture of f/8 (or something fairly close to

that) can give you the best of both worlds.
There’s usually a narrow enough depth of field
to create a sense of separation from the
background, and focus is more forgiving, while
you’re less likely to have to compromise on
shutter speed or ISO. If you’re using a setup
with studio lights, this medium aperture is a
good starting point.
f/11
03 Everything sharp
A very narrow aperture, such as f/22, is great if

you want other objects in your frame to also
appear in focus, for example, the model in the
background of this shot. However, shooting at
narrow apertures means you’ll need to use a
slower shutter speed, which might necessitate
the use of a tripod in order to avoid blur, or to
increase your ISO setting, which will introduce
noise (grain).
f/22

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EXPERT ADVICE THE LONG AND THE SHORT OF IT
Get the appropriate focal length for the style of portrait you’re planning to take
20mm 105mm
NIKOPEDIA
Q&A
01 20mm wide-angle lens 200mm
A wide-angle is not normally the ‘go to’ lens for
portrait photographers. Even the best wide-angle
lenses can be unflattering to your subject, because
if you’re too close, noses and foreheads appear
larger. Wide-angle lenses do have their uses in portrait photography.
GEAR CRAFT
While not great for headshots, they’re perfect for environmental
portraits where you want to show someone in their surroundings,
and can keep them relatively small in the centre of the frame.
02 105mm portrait lens

A short telephoto is typically the portrait
photographer’s favourite focal length – with a 70mm
on a DX camera or a 105mm on a full-frame model
being ideal. It’s as much about how close you end up
being to your subject as the perspective you get.
A 105mm usually gives a comfortable working
distance from subject to photographer.
03 200mm telephoto lens

A long focal length can be a great choice for portrait
photographers because it compresses the perspective.
This can often be more flattering for your subject. It’s
also easier to create a blurred background with a
telephoto lens, so if you’re also using a wide aperture
such as f/2.8 you can get stunning results – the blurred
part of the image can often also look lovely.
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PART 2 | STUDIO BASICS
PREPARE YOUR STUDIO

Forget fancy gizmos! You need six basic items for a
simple studio setup – and one of those is your Nikon
here’s a lot of complicated- used to bounce one of the existing lights While reflectors
T sounding equipment that comes back at the subject. If you’re working are relatively
NIKOPEDIA
with studio photography, but don’t outside with natural light, a reflector is inexpensive,
you can easily
get too bogged down with this. Our basic extremely handy. Reflectors come in many make one from
studio setup below shows you the essential shapes and sizes, and different colours and card, foam
items that you’ll actually need. surfaces have different effects on a subject. board and foil
When you’re working with two lights, Just like the studio lights, the height, angle
a reflector is useful because it will and distance of the reflector will have an
effectively act as a third light. It can be effect on the end result.
EXPERT ADVICE Studio essentials

Get all this and you’ll be ready to start
01 Backdrop 4 All this equipment packs
Most backdrops come in the form of away neatly, so you don’t
a roll of paper. They’re available in a need to have a special room
set aside for your portrait
Q&A
variety of sizes and colours. You’ll 1

photography. Just clear
need support stands and a pole to space in a room large enough
keep the backdrop in place. If you to accommodate everything
don’t have one, try a large sheet or 5
piece of fabric. Black velvet is a

great choice. It has light-absorbing
qualities and gives a nice rich black.
02 Main light 6
Use this with a diffuser, like a 3
softbox. A softbox softens the light 2
so the shadows are less harsh, and

gives window-shaped catch lights in
GEAR CRAFT
the eyes. The angle, height and

distance of the main light are vital to
getting the look you want. The
power of the flash is controlled
using buttons on the flash head.
03 Camera
You’ll need to connect your Nikon to
the studio lights. This can be done pointing at the hair. Not only
through a sync cable (if your SLR has does this light the hair, it creates a
a PC socket) or with wireless separation from the background.
triggers. In a controlled
Illustration: Andy McLaughlin
environment like a studio you’re

best off switching to manual mode.
05 Reflector
A reflector is used to bounce light 06 Model
back from the main light into the If you don’t have a friend or family are keen to build their portfolios
04 Hair light shaded side of the subject’s face. member you want to photograph, and increase their experience, so
The second light is positioned This ensures the shadow is still you can often find willing models you can usually come to mutually
behind the model with a snoot there to define the shape of the face via networking websites such as agreeable arrangements – for a
attached. The snoot concentrates but isn’t too dark. See the opposite www.modelmayhem.com and small fee or trading their time in
the light, and here we’ve got it page for more on reflectors. www.purpleport.com. New models exchange for use of your photos.

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REFLECTORS LIGHTEN UP THE DARK SIDE OF THE FACE
All reflectors work in the same way, but the colours make a difference in your shots
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Q&A
No reflector Gold reflector
01 Silver reflector
A silver reflector reflects a large amount of
light. It’s best to use these at some distance if
you’re working in the studio, otherwise the light
can look too harsh. If you want to make your
own, silver foil works a treat. However, they’re
GEAR CRAFT
not too expensive and most reflectors come
with several covers, such as white, silver and
gold, so getting one is a good investment.
02 Gold reflector
Gold is best avoided with studio flashlights,
which are usually balanced to daylight,
because the warm glow that it radiates is likely
to create mixed lighting in your final images.
This will only mean more work in the digital
darkroom later on. If you’re working outside,
a gold cover warms up skin tones beautifully.
03 White reflector
A white reflector is ideal in the studio because
it creates a softer, colour-neutral fill light. You
don’t have to use a specially-made reflector –
a large piece of white card can be just as
effective. Professional studios often use huge
sheets of white foam board. While they’re not
that expensive, they take up a lot of space.
White reflector
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PART 3 | WHERE DO YOU PUT THE LIGHTS?
BRIGHT IDEAS
How you place your lights changes the tone
of your images – start with these three setups
ou don’t need a massive pile of The height, angle, power and distance of your
Y sophisticated (and costly) lighting lights will have a dramatic impact on the shape
NIKOPEDIA
equipment to get started with creative of your subject’s face, not to mention whether
studio portraiture. A simple two-head home you use a naked flashbulb, a softbox, a snoot or
studio kit is more than enough. Here we’ve an umbrella. Nearly all studio kits come with
focused on three basic setups, which will be modelling lights, and it’s vital that you keep
more than enough to get you going, but the sky’s these on so you can see how the light is falling on
the limit even with just two heads. your subject. Use your Nikon’s LCD screen too; You’ll want a flash
It’s always a good idea to ‘build’ your lighting. sometimes switching to the monochromatic modifier such as a
softbox or
Start with your main light, and once that’s in the preview mode can help you concentrate on umbrella when
right position, introduce the next light, and then shape, tones and shadows falling on the face you’re taking
position your reflectors. and visualise the end result. portrait photos
LIGHTS How high should they be?

Choose where you want the shadows to fall
Q&A
01 High
In most cases you’ll want to have your main
light positioned above the model. Notice how
the shadow from the nose falls down the face,
elongating the features. Ideally, you want the
shadow of the nose to point towards the end
of the lips. The triangle of light on the cheek
on the shadow side is often referred to as
‘Rembrandt’ lighting; get your model to move
her head slightly to achieve this.
02 Eye level
GEAR CRAFT
With the flash light to the side and at the

same height as the model, the light falls
across the face, causing a shadow that
widens the facial features. If this light is
balanced with one of equal strength on the
other side, it can be quite effective, but as a
sculpting technique height would be better.
Keep your flashlight’s modelling lights
switched on so you can see the shadows.
03 Low
There are unlikely to be many situations when a

low light is going to work well as your primary
light source. It gives a spooky look, so
Halloween is probably the only time you’re even
going to think about using this technique. As
you can see from our example, underlighting is
not very flattering even on a young model. With
underlighting the nose shadow is clumpy and
any bags under the eyes will be amplified.

CAMERA SKILLS
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EXPERT ADVICE LIGHTS, CAMERA, PORTRAIT!
A trio of popular portrait lighting styles you can master in your home studio
NIKOPEDIA
Q&A
Classic Rembrandt Rim light
01 Classic Rembrandt
This is a great core lighting setup.
You’re essentially looking to create a
small triangle of light on the shadow
side of the face with the nose shadow
pointing towards the lip. Use the
GEAR CRAFT
reflector to fill the shadow area and a
backlight with a directional snoot
attached to light the hair.
02 Rim light
For this, position two evenly-powered
softboxes slightly behind the subject
and pointing towards the camera. Use
a reflector to bounce light on the
subject’s nose and forehead. This is
good for showing off bone structure,
and is great for men and fine-art nudes.
03 Beauty
Position one large softbox above the
model and point it down for front-on,
soft and even lighting. To even out the
exposure place a white reflector
underneath the model’s face. This will
bounce light back up and into the face.
This is a good ‘beauty’ lighting setup.
Beauty
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PART 4 | PERFECT POSING
STRIKE A POSE
Non-professional subjects won’t know how to stand,
so you need to direct them to get the best shots
nce you’ve got your studio lights set up tips, but more often than not once you get
O and your camera settings ready you’re started, your subject relaxes in front of the
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all set to start shooting. This can be the camera, the creative juices get flowing, and the
most challenging part of the process, not for shoot will start to evolve naturally. However, it’s
technical reasons, but because this is when you also a good idea to take a look at magazines,
suddenly realise you’ve got to pose your subject. books, art galleries and so forth to get an idea of
For many photographers faced with a family the kind of pose you’re after.
member, friend, or other non-professional model, It’s not just the position of the model that’s
this is the moment when the idea of shooting important. You’ll need to consider your own angle
Remember to
rocks in the landscape suddenly seems much too, because camera height alone can have an consider your
more appealing. We’ll set you up with a few basic enormous impact on your work. own position too
– could you shoot
from a more
flattering angle?
CAMERA HEIGHT Flattering angles

It’s not just your subject who needs to know where to stand
Q&A
GEAR CRAFT
01 High 02 Eye level 03 Low

Positioning your camera slightly higher than With the right lighting, eye level should be Generally, the lower you go with your camera
the subject’s eyes can often produce a more fine in most situations. Be aware that your angle, the less flattering the photo. It certainly
flattering image. It generally creates a camera height will affect how the portrait won’t make large folk look any slimmer. It does,
slimming effect. Notice how the neck recedes looks. Your Nikon’s LCD screen will be vital in however, create a striking effect, and your
and the jaw looks more defined. But don’t go helping you assess this. If you’re shorter than subject will seem important. Corporate shots
over the top – go too high and your subject will your subject, consider using a box or step ladder of business leaders are often shot from a low
look like they’re in some strange yoga position. to reach the right height. angle to create precisely this illusion.

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EXPERT ADVICE STAND AND DELIVER
These classic poses will get you great results from even the most awkward subjects
01 Female poses
If your subject stands firmly
on both feet facing the
camera, it won’t work well.
Just asking them to shift
their weight to their back
NIKOPEDIA
foot will force a three-
quarter look, which is much
more flattering.
Introducing hands into
the shot is a great way to
enhance the composition.
Be careful they don’t
dominate, though – a hand
is nearly the same size as a
person’s face and can cause
a distraction.
02 Male poses
Feet are just as important
to think about when you’re
Q&A
posing men, and straight-on
shots still won’t work
terribly well. However, for a
more dominant and
masculine pose, get your
male subject to put their
body weight forward onto
their front foot, so they’re
leaning forward for a ‘man
from GQ’ effect. Slip one
hand into a trouser pocket
and you’ll complete the
GEAR CRAFT
pose nicely – even if it is a
little corny.
03 Couple poses
Posing couples can be quite
a challenge, and you’ll have
to vary your approach
depending on the size and
shape of your subjects.
However, the basic
principles that we’ve

outlined above for posing
men and women still apply.
Facing straight on doesn’t
work well and a three-
quarter twist helps.
Experiment with eye
contact, too – getting your
subjects to look at each
other can work really well.
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PART 5 | ARTY EFFECTS
GET CREATIVE!
Don’t stop there – take your portraits a step further
with effects done in-camera and in post-processing
hen you’ve got to grips with the basics, subject. It’s a good idea to talk to your subject
W why not unleash your creativity and first and get an idea of who they are, what they
NIKOPEDIA
give your portraits even more impact? want their portrait to look like or what you want
Whether it’s using a nifty accessory, indulging in to portray. Whether you’re shooting a model’s
some digital darkroom skullduggery or simply portfolio, a formal corporate headshot, or some
daring to challenge the conventions, there are warm and cheery family portraits, you’ll need to
plenty of ways to make your mark. make creative decisions about lighting, lenses,
The important thing to remember is that every camera angles, lenses and more.
portrait tells a story about the subject, and Here are a few ideas, tips and techniques –
because each subject is different you’ll need to both in-camera and in post-processing – that’ll
adapt the way in which you approach each give your images that extra pizzazz.
CLASSIC TECHNIQUES Three editing tricks to master

You’re certain to find yourself using this trio of timeless effects frequently
Q&A
GEAR CRAFT
02 Soft focus 02 Black and white 03 Retouched

Soft-focus techniques have been used in Portraits can look great in black and white. Most portraits could do with some basic
portraiture since the very beginnings of Shifting to monochrome can reduce the retouching in the digital darkroom. The Healing
photography. The ethereal and dream-like visibility of some skin imperfections. Brush and Clone Stamp tools are ideal for
impression it evokes can look desirable if Switch your Nikon’s preview mode to removing unwanted blemishes, and there are
applied with caution. However, it’s very easy to monochromatic so you can visualise the end various techniques and plugins that can used to
go the other way, and your shots could easily result at the time of capture. It will help you to smooth skin, whiten eyes and teeth, and even
end up looking like some horrendous flashback get the lights set up for the effect you want, help shed a few pounds. However, it’s crucial
to the 1980s. In-camera techniques such as whether that’s a dark and moody image with that you don’t go over the top – there’s nothing
using filters, Vaseline or even stockings can plenty of shadows or a bright high-key shot worse than seeing an ‘overcooked’ portrait with
work a treat, but you can also get great results against a white background. If you shoot in the hyper-smooth skin. The art of a good retouch is
using blur filters in Photoshop, and you can raw format you can always revert to the colour to subtly improve but celebrate the wonders of
revert to your original if you’ve added the effect file if you or your subject decide that a your subject’s features (even the wrinkles)
in Photoshop and don’t like it after all. monochrome look isn’t actually wanted. rather than obliterate them.

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BE INSPIRED 21st CENTURY TRENDS
We’ve come a long way from the stiff portraits of the Victorians…
NIKOPEDIA
Q&A
01 CROSS-PROCESSED 02 MONTAGE
The cross-processed look is all the rage, especially after being Using some basic image-editing skills it’s fairly easy to transport your
popularised by smartphone apps such as Instagram and Snapseed. subject into a new scene. Shooting your subject against a plain
The characteristic saturated colours and increased contrast are easily background makes it much easier to create a digital cut out using the
replicated in Photoshop using Curves or Levels. Quick Selection tool and Refine Edge in Photoshop.
GEAR CRAFT
03 GOOD CROP,
BAD CROP
Don’t be afraid to be
bold with your cropping
– either when shooting
(by zooming in or
moving closer), or in
post-production.
There’s a general
misconception that the
whole of a subject’s
head should be in the
frame, but it doesn’t
need to be, and more
often than not a tight
crop into the head can
work wonders for the
composition.
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HOW MUCH CAN YOU REALLY RECOVER IN RAW?

ORIGINAL
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JPEGs
This sequence was shot at
a range of exposures to
show the effect on the -3EV -2EV -1EV
colours and tones The JPEG image is three steps The JPEG version is dark and gloomy, The JPEG version looks a little
under-exposed, with little image and large areas of shadow have dark, but it’s still acceptable as
information even in the midtones become a solid black a more ‘low-key’ portrait
PROCESSED
Q&A
RAW FILES
Our pictures were also shot
as raw files, so how much -3EV -2EV -1EV
image data can we recover The recovered raw file looks okay The recovered raw file is very good. The recovered raw file is barely
in Adobe Camera Raw? – there’s more noise in the shadows The definition, smoothness and tonal distinguishable from the
and midtones, but you wouldn’t range isn’t quite as good as a properly correctly exposed version – raw
imagine the original was three exposed raw file, but the loss in files have a very good tolerance
stops under-exposed quality is quite modest for under-exposure
GEAR CRAFT
WHAT YOU CAN CHANGE

WHAT RAW CAN DO AND Picture Controls: these are
simply different ways to ‘process’
the raw image
White balance: the raw file
contains all the colour data
captured by the sensor, so you’re
WHAT IT CAN’T DO File type: from a raw file you can

create any file type you like, from
free to re-interpret the white
balance on the computer
JPEG to TIFF or even DNG

Raw files enable you to change its work even before the image (Adobe’s universal file format)
certain key camera settings after reaches the sensor.
you’ve taken the picture... but So while raw files do give you Colour space: there’s no need to
which ones? extra flexibility, there are still choose sRGB or Adobe RGB on the
The fact is that digital SLRs are plenty of settings you have to get camera – you can do it later
not completely digital after all. right at the moment you take the
The image is formed using a picture. The secret here, then, is Exposure (latitude): raw files
mixture of optical and to know what you can change and retain more detail in shadows
mechanical machinery that does what you can’t. and highlights

2015
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It’s well known that raw files retain a wider dynamic range than later on with their image-editing software on the computer. But how
JPEGs, and photographers often rely on raw to hold shadow and much leeway do you really have? Our exposure test reveals just what
highlight detail in high-contrast scenes that they can then recover raw can do... and what it can’t…
NIKOPEDIA
0EV +1EV +2EV +3EV
The correctly-exposed JPEG The JPEG has a high-key look, which is Larger parts of the model’s face are The JPEG file is unusable, with
looks great, although some all right, but areas of the model’s face now blown out in the JPEG file, and it large areas of blank white
highlights are close to clipping are clearly blown out just looks wrong over-exposure
Q&A
0EV +1EV +2EV +3EV
The exposure was optimal, There’s enough exposure The recovered raw file The recovered raw file lacks
so the raw file hasn’t needed latitude in the raw file to adjust has a normal-looking contrast, and the highlights are
any work. Getting the exposure the brightness and recover the exposure, but some of the a muddy grey with no detail in
exactly right has given the best blown highlight areas lost in the highlights have been lost – the them at all. Raw fails here…
overall quality over-exposed JPEG version raw file has reached its limits
GEAR CRAFT
WHAT YOU CAN’T CHANGE
Shutter speed: the duration of the alter the physical zoom setting
exposure is fixed the moment you you chose on the lens
press the shutter – you can’t change
that later! Focus distance: the focus point is
another optical property that can’t
Lens aperture: lens be changed later. Like shutter speed
aperture and depth of and aperture, this is the ‘analogue’

field are also fixed at part of photography – the ‘digital’ part
the moment the shot comes later
is taken
ISO: the ISO is applied using
Zoom setting: you electronic amplification before the
can crop your raw image is created. Surprisingly,
pictures this is not a raw option either, so it’s
later, but something else you have to get right
you can’t when you shoot
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IS RAW ANY USE FOR ACTION?

Your camera uses an internal after just a second or so, and so you
memory buffer to store images taken could miss the key moments. For For great action shots
in continuous shooting mode, and example, the Nikon D7100 can shoot you need your camera to
NIKOPEDIA
raw files, which are very large, fill it at 6fps and capture 100 large JPEGs provide both speed and
up much more quickly. This means at normal quality before the buffer stamina, so is raw really
you might be able to capture a fills up, which is a burst of around 16 the right choice?
sequence lasting many seconds seconds. But if you switch to raw it
when shooting JPEGs, but if you can only save nine raw files, a burst
shoot raw the camera might stop of just 1.5 seconds.
Q&A
16 SECONDS AT 6FPS
JPEGs LET YOU SHOOT FOR LONGER SO THAT YOU DON’T MISS THE SHOT!
As we know, raw files give the greatest image quality and flexibility, but they’re slow to process and save. In fact,
even the pros will switch to JPEGs for extended bursts, especially for sports where the action is unpredictable
and they don’t know exactly when the key moment is going to take place.
GEAR CRAFT
Illustration: Andy McLaughlin
1.5 SECONDS AT 6FPS
RAW FILES GIVE YOU QUALITY BUT ONLY FOR A SHORT BURST
Raw files take up much more space in the camera’s buffer, which means the camera can only shoot them in
short bursts. It’s no good getting great quality if you miss the shot! The difference in burst length is much
greater than you might imagine, as our D7100 example demonstrates.

CAMERA SKILLS
WILL I NEED MORE MEMORY?
Nikon doesn’t just offer one type of raw file. You can
save them as 12-bit or 14-bit files in both compressed
or ‘lossless’ compressed forms. As an example, here
are Nikon’s figures for how many pictures you can
store if you’re using a D7100 and an 8GB memory card.
NIKOPEDIA
Note, however, that file sizes differ according to the
content of the images, hence the apparent
discrepancies in Nikon’s official figures below.
RAW VERSUS JPEG: HOW MANY SHOTS CAN YOU TAKE?

FILE TYPE TYPICALL FILE SIZE HOW MANYSHOTS CAN HOW MANYSHOTS CAN YOU STORE ON AN
THE BUFFER HOLD? 8GB MEMORYY CARD? ( = 10)
JPEG Large Normal 6.2MB
0 5 10 15 20 25 30
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100 1000
JPEG Large Fine 12MB
0 5 10 15 20 25 30
33
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507
NEF 12-bit 20.2MB
9
compressed
0 5 10 15 20 25 30 260
NEF 12-bit lossless 22.7MB
6
compressed 191
0 5 10 15 20 25 30
NEF 14-bit 24.9MB

8
compressed
0 5 10 15 20 25 30 217
NEF 14-bit lossless 28.5MB
5
compressed 148
0 5 10 15 20 25 30
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WHY DON’T YOU GET WHAT YOU SEE?

This is a perennial question. You shoot a raw file,
WHAT YOU SEE WHAT YOU GET
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look at it on the back of the camera, and think

it’s fine. But when you get back home and
load it up on the computer, it looks
different somehow. What’s going on?
This is because you never see a
raw file directly – you only see a
‘processed’ version. When you
look at a raw file on the LCD
display, it’s a processed JPEG
preview produced internally
by the camera.
This is where the
trouble starts, because
different programs
process your raw files
differently – it’s like working
with different developers in
Q&A
the days of film. Adobe’s idea I used the Monochrome Picture Control and it looked fine
of what your raw files should on the LCD, but on the computer my raw file is in colour.
look like is subtly different to That’s because Nikon’s Picture Controls are simply set of
Nikon’s. And programs like processing ‘instructions’. Your Nikon SLR and Nikon software
Capture One and DxO Optics applications know what they mean, but Adobe Camera Raw and other
Pro will produce different third-party applications ignore Picture Controls and apply their own
results again… generic raw settings to the images.
WHAT YOU SEE WHAT YOU GET WHAT YOU SEE WHAT YOU GET
GEAR CRAFT
I set the white balance to Daylight in Adobe Camera Raw The histogram on the camera said my highlights and
and now the colours look much too warm. shadows were clipped, but they’re fine in the raw file!
Adobe’s interpretation of ‘daylight’ is quite different to That’s because you’re not really seeing the full raw file in the
Nikon’s. It’s best to set the right white balance when you shoot LCD on the back of the camera. That image is only a rough-
and then choose ‘As Shot’ for the white balance setting in Adobe and-ready JPEG version produced by the camera for viewing
Camera Raw. Alternatively, you could use the eyedropper to click a purposes, whereas when you open the raw file on the computer you’ll
neutral-toned area of the image. be able to access the extra detail.

CAMERA SKILLS
WHY WON’T PHOTOSHOP
OPEN MY RAW FILES?
NIKOPEDIA
We hear this complaint all the time, and
there’s a good reason this happens. The
answer comes in three parts.
2 Adobe Camera Raw is developed
separately, which is why you’ll
periodically be prompted to download
and Elements. From now on,
you’ll need the new versions
before you can get any further
new versions for Photoshop and ACR updates. In the same way,
1 Photoshop and Elements use the

Adobe Camera Raw plugin to open
raw files, and Adobe regularly updates
Elements. (ACR is built in to Lightroom,
so the whole program is updated.)
you may eventually have to get a
newer version of Lightroom.
it to work with new cameras as they are

launched. Lightroom has ACR built in,
so Adobe updates it at the same time.
3 But Adobe imposes an Adobe
Camera Raw cut-off when it
launches new versions of Photoshop
So when you upgrade to a new
Nikon, you may also have to
upgrade your software.
Which version of Photoshop, Elements or Lightroom will I need to open my raw files?
Q&A
NIKONMODEL ACR VERSION PHOTOSHOP ELEMENTS LIGHTROOM
D700 5.1 or later Photoshop CS4 or later Elements 6 or later Lightroom 2.1 or later
D3X 5.3 or later Photoshop CS4 or later Elements 6 or later Lightroom 2.3 or later
D300S 5.5 or later Photoshop CS4 or later Elements 6 or later Lightroom 2.5 or later
D3S 5.6 or later Photoshop CS4 or later Elements 6 or later Lightroom 2.6 or later
GEAR CRAFT
D5100 6.4 or later Photoshop CS5 or later Elements 9 or later Lightroom 3.4.1 or later
D800E 6.7 or later Photoshop CS5 or later Elements 10 or later Lightroom 4.1 or later
D3200 7.1 or later

7 Photoshop CS6 or later Elements 11 Lightroom 4.1 or later
D5200 7.3 or later

D600 7.3 or later

D7100 7.4 or later

D5300 8.3 or later Photoshop CS6 or later Not yet supported Lightroom 5.3 or later
D3300 8.4 or later Photoshop CS6 or later Not yet supported Not yet supported
2014
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CAMERA SKILLS
CAMERA SKILLS
WILL I SPEND MY WHOLE LIFE

PROCESSING RAW FILES?
NIKOPEDIA
Q&A
There’s a popular misconception that SIZE UP YOUR SHOTS FOR OUTPUT

GEAR CRAFT
JPEGs are hassle-free but raw files must be Choose your output options – these include the colour
hand-crafted. No! You can use Adobe space (sRGB or Adobe RGB), bit depth (8-bit or 16-bit)
Camera Raw to batch-adjust and batch- and output size and resolution – usually you’d want
convert whole folders full of images while stick to the
you get on with other things. original size,
but if you’re
producing images
OPEN ALL YOUR for the web, now’s
RAWS AT ONCE a good time to
Select all the resize them.
files you want to
process in Adobe Bridge SYNCHRONISE
and then right click to ALL YOUR

open them all in Adobe SETTINGS SAVE ALL YOUR SHOTS AT ONCE
Camera Raw. They Next, click the Finally, click the Save button. You choose where you
appear as a vertical list Select All button and want to save your
on the left side of the then the Synchronize pictures and what file format
window. Now select a button. You can choose you want to use – JPEG, TIFF or
representative picture from the set and which of your even DNG, for example. Now you
make your adjustments. You can open up adjustments are copied can leave Adobe Camera Raw to
and process dozens of shots at the same across to the rest of do the rest while you get on with
time without your computer crashing. your pictures. something else!

CAMERA SKILLS
CAMERA SKILLS
From the launch of the
D90 onwards, Nikon
D-SLRs have all been
able to process raw
files in-camera
01
02
NIKOPEDIA
03
04
05
06
CAN YOU MAGIC AWAY ALL
Q&A
THIS COMPUTER STUFF?
ou can! Your Nikon D-SLR has its own raw converter built in via the Retouch
menu. You can even adjust raw parameters before saving a JPEG conversion
01 IMAGE QUALITY
Use this setting to choose the image
quality (Fine, Normal or Basic) for your
in-camera black-and-white conversion
complete with filters and toning!
GEAR CRAFT
converted JPEG file
06 HIGH ISO NOISE REDUCTION
Change the noise reduction applied to
02 IMAGE SIZE
Choose from Large, Medium or Small
image sizes, just as if you were setting your
high ISO shots – less noise reduction means
more detail but more grain
camera up for shooting

07 COLOR SPACE
Choose sRGB for casual use, on-screen
03 WHITE BALANCE
Your chance to try out different white
balance presets, all exactly matching the
display or web, or Adobe RGB for images being
published commercially
regular preset when shooting

08 D-LIGHTING
Not quite the same as the camera’s
04 EXPOSURE COMPENSATION
Exploits the slightly wider dynamic
range of raw files to make small exposure
Active
D-Lighting
mode, which 07
corrections (up to -1EV or +2EV, say) also changes 08
the exposure,
05 PICTURE CONTROL
Try out different treatments for your
photos, from Vivid to Landscape – or create an
but useful for
lightening
dark shadows
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CAMERA SKILLS
CAMERA SKILLS
HOW DOES RAW REMEMBER MY TWEAKS?

Editing raw files is all done with the magic of metadata. None of the data in your raw files will be changed; instead, your edits
are saved as ‘instructions’ within the file. This is fine, but for one thing: your adjustments are application-specific
Adobe Camera Raw

NIKOPEDIA
Adobe Camera Raw works in one of two ways,

depending on how you set up its Preferences. You can
save your adjustments to the Camera Raw database,
which is fine as long as the images are being looked at
on your own machine, where the database is stored.
The other option is to save ‘sidecar’ .xmp files. This is
messier, in that a small file is saved alongside each raw
image you edit.
Adobe Camera Raw saves

any adjustments made as
‘sidecar’ .xmp files
alongside your raw image.
The appearance of the raw
image icon is unchanged
Q&A
Adobe DNG
With Adobe Camera Raw, you can also save your edited
raw images as DNG files. One important advantage of
this format is that the adjustments are saved within
the file, so there are no sidecar files to worry about.
When you reopen the file in Adobe Camera Raw, all your
adjustments will be just as you left them. However,
these adjustments will only show up in Adobe Camera
Raw, not in non-Adobe software.
Adobe Camera Raw can save edited DNG

files without sidecar files – but even
though the file icon might look ‘edited’, it’s
GEAR CRAFT
really just a preview, and other programs

will ignore all your edits
Nikon ViewNX 2 and Capture NX2

This idea of embedding adjustment data directly in the
file isn’t new. If you use either of Nikon’s image-editing
tools, you can save your adjustments directly into the
raw file in just the same way Adobe Camera Raw can
with DNGs. But if you adjust a raw file in Capture NX2
and then open it in Adobe Camera Raw, your
adjustments won’t be visible. That’s because Nikon’s

adjustment metadata is different to Adobe’s – the
instructions only make sense in the Nikon software.
You can save edited versions of your NEF

files with ViewNX 2 or Capture NX2, but
although the image icon looks new on your
computer, this is just a preview created by
the software. If you use a different app, your
editing instructions will be ignored!

CAMERA SKILLS
CAMERA SKILLS
WHICH FORMAT IS BEST FOR SAVING MY SHOTS?
When you shoot raw you add new file formats into the mix. So which formats should you
use, and when? Which are the most versatile? All will be revealed…
NIKOPEDIA
01 NEF
Always keep your NEF files!
These contain all the data
on a high-quality JPEG is a myth. Any
artefacts you do see will be from the raw
demosaicing process and the sharpening
manipulation far better than an 8-bit file, so
16-bit TIFFs are good for further editing.
captured by your camera in its

original raw form, and they
should be archived for posterity.
needed to compensate for the camera’s
low-pass filter (where fitted). Don’t forget you
can always go back to your raw file and save it
04 DNG
DNG files are designed by
Adobe as a ‘universal’ raw
Some photographers convert their NEFs to in a new format if you need to. format that gets round the
Adobe’s ‘universal’ DNG format, but this traditional issues of camera-
seems an unnecessary step, since all the top
raw conversion programs support Nikon
D-SLR NEF files directly. The NEF format is
03 TIFF
TIFFs use either no
compression, or ‘lossless’
specific file formats. However,
the publishers of other raw converters seem
perfectly happy to support cameras directly,
not ideal for editing images, though, since compression, so that there’s so DNG is perhaps not as useful as Adobe
only Nikon’s own software can make sense no quality loss from the intended. But it’s a useful option if you use an
of your adjustments. compression process. This older version of Photoshop or Elements that
doesn’t mean you’ll be able to see any doesn’t support your camera – you can use
02 JPEG difference, though, and TIFF files are Adobe’s free DNG converter to turn your
Q&A
JPEGs get a bad press as a considerably larger than JPEGs. If you save an camera’s raw files into DNGs, which older
rule, but can you really tell the 8-bit TIFF file you’re already discarding so versions of Adobe Camera Raw can open.
difference between an 8-bit JPEG much data from the raw file that the TIFF/
and an 8-bit TIFF? JPEGs are JPEG debate hardly matters. However, a 16-bit
smaller and just as good, and the TIFF is another matter. This saves much more sRGB or Adobe RGB?
idea that you can see compression artefacts of the original data and survives heavy Digital cameras use the RGB (red, green,
blue) system for recording colours, but
RGB comes in two different ‘colour
spaces’: sRGB and Adobe RGB. In theory,
sRGB is a ‘smaller’ colour space that can’t
describe such a wide range of colours, or
‘gamut’, as Adobe RGB. However, many
devices, printers and computer monitors
GEAR CRAFT
can only display sRGB, and using an
Adobe RGB image with these devices
can produce shifts in tone and colour.
Reserve Adobe RGB is for
professional publication, where the
increased colour gamut can prove
valuable. If you shoot JPEGs, you have to
commit to sRGB or
Adobe RGB when
you shoot, but
with RAW you
can choose
which to use
when you convert
your files. For
example, you could
use sRGB for your web
gallery images, and
Adobe RGB when you send
them to a magazine.
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CAMERA SKILLS
CAMERA SKILLS
NIKOPEDIA
1 2 3
Q&A
7 8 9
GEAR CRAFT
ALI JENNINGS’S CREATIVE SELECTION

HOME PROJECTS
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TXLFNDQGHDV\SURMHFWVIRUDGYDQFHGSKRWRJUDSK\HQWKXVLDVWV
CAMERA SKILLS
CAMERA SKILLS
NIKOPEDIA
4 5 6
Q&A
10 11 12
PROJECT 1 Freeze a leaf PROJECT 7 Still life solarisation
GEAR CRAFT
PROJECT 2 Play with mini models PROJECT 8 Bokeh & light trails
PROJECT 3 Spirographs of light PROJECT 9 X-ray vision
PROJECT 4 Dramatic mono rose PROJECT 10 HDR vegetables
PROJECT 5 Colourful zoom burst PROJECT 11 Catch a water drop
PROJECT 6 Cook up your own rainbow PROJECT 12 Back-lit fruit slices
ometimes it can be hard to get give you a better insight into the
S outdoors with your camera. So
what do you shoot when you’re
workings of your Nikon SLR camera.
Each project uses just a few simple
stuck indoors and are itching to do pieces of equipment, such as commonly
something creative? We’ve come up used lenses and remote triggers, so

with 12 great DIY photography projects there’s little need to invest in any new
for you to do at home. kit, and you should be able to find all the
We’ve devised a dozen indoor and props you need around your home. You’ll
low-light photo projects that you can do discover how to get creative with still
to keep the photography spark alive, lifes, capture artistic light trails, use
even if family commitments or a busy light to see objects in a different way
time at work leave you with limited time and how to create your own X-ray shots.
for photography. They will also help you So, get your Nikon out of hibernation
to improve your techniques, skills and and let’s get started…
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CAMERA SKILLS
CAMERA SKILLS
You can try this technique

with white flowers for a very
different, ethereal, result
NIKOPEDIA
Q&A
GEAR CRAFT
HOME PROJECT 1
FROZEN IN TIME
CDSWXUHVWULNLQJZLQWU\ still liIHVWKURXJKLFH
3 QUICK TIPS
PUT THINGS ON ICE
■ Backlight the ice to bring
out the detail – put it on a
he vivid colours of photograph, you need to prepare your ice has frozen, place the tray
lightbox or against a window.
T autumn leaves are your block of ice with a leaf upside down in a basin and run
obvious photographic embedded inside. Take a glass some cold water over the base ■ Reboil the water if you
subjects. While the oranges, reds tray with no logo on the base and until the ice block drops out. find that your ice is still full
and yellows make for ideal fill it with boiled and cooled water Now you’re ready to shoot. Put a of bubbles, then let it cool
landscape shots, the leaves that to a depth of 3-4mm, then freeze macro lens (if you have one) on your and replace it in the freezer.
provide such amazing colour can it. (Boiled water contains less camera, and use manual focus so
■ Stretch cling film across
easily be brought home for a more oxygen, so you’ll get fewer bubbles you can focus on the leaf, not on
the tray before freezing – this
detailed photographic study. in your shot.) the surface of the ice. If you want
will make it easier to remove
In this project we’re going to When the water is solid, add a extra light to bring out details in
the ice block from the tray
shoot a leaf in a block of frozen ice. leaf and more cooled water, and the leaf, position a flash to the side
prior to shooting.
Before you can take your freeze the whole lot again. Once of the block of ice.

CAMERA SKILLS
CAMERA SKILLS
HOME PROJECT 2
MINIATURE FUN
CDSWXUHWR\DQLPDOVLQWKHZLOG
hotographing individuals who are unaffected
P miniature toys and by waiting for hours in sub-zero
NIKOPEDIA
models has captured temperatures to get the shot,
the imagination of internet for most of us a brisk stroll in
galleries. It’s increasingly the winter sun will suffice.
popular on advertising boards A quick walk might not be
and in magazines, but at its enough time to capture real
heart it’s just a bit of fun. wildlife, unless you’re very
At this time of year you really lucky, but there’s no reason not
do need to be a die-hard wildlife to have a bit of fun and take the
fan to brave the cold, and while wildlife with you. All you need is
there will always be a few hardy a small plastic animal.
HOME PROJECT 3
01 Blur it
Normally, when you
want a shallow depth of
field you use a wide
aperture. But because
you’ll be shooting close
SWIRLS OF LIGHT
CDSWXUHFRPSOH[JHRPHWULFVKDSHV
Q&A
to your subject you can
use an aperture as ight spirals make you control it: when you press
narrow as f/16 for this.
L impressive pictures. To
create one you simply
the button the shutter opens
and when you release it the
02 Add flash hang a torch from the ceiling by
a piece of string, then swing the
shutter closes. This makes Bulb
mode great for capturing stars
If your subject is cast in
torch to create the pattern, and anything whose movement
shadow, use your flash
which you capture over a long exceeds your Nikon’s longest
to add fill-in lighting, and
exposure using the camera’s shutter speed. As with any long
balance the exposure
Bulb feature. exposure, it’s best to use a
with the flash
Bulb mode enables you to shutter release to minimise
compensation. Most
lock open the shutter. Unlike camera shake. It’s also best to
Nikons have quick
GEAR CRAFT
other long exposure settings, use a wide-angled lens for this.
access to this feature.
01 Set up
Set your camera to
manual. Turn the main
command dial to change
the shutter speed until
you reach Bulb. Set the
aperture to f/16. Put the
camera on a tripod below
the torch, looking up.
02 Get swinging
Swing the torch and
open the shutter with a
shutter release. When
the swinging slows,
close the shutter. In
Photoshop, create a
colour gradient and use
this as an overlay.
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CAMERA SKILLS
CAMERA SKILLS
HOME PROJECT 4
MAKE A BLOOMING DRAMA

&DUHIXOOLJKWLQJFUHDWHsDKLJKLPSDFWEODFNDQGZKLWHLPDJH
sing a little top lighting
U and a quick monochrome
Other sculptural flowers that
NIKOPEDIA
conversion in Photoshop, make good subjects for this sort

you can make a delicate rose the of shot are lilies and tulips
subject of a black-and-white shot
with impact. The key to this
project really is the lighting.
You’ll use a simple top light to
illuminate the subject, and
behind the rose hang some black
velvet cloth. This will absorb the
light and help to isolate the rose
on a black background. Following
a simple monochrome
conversion and a boost to the
contrast in Photoshop, you’ll
have your final shot.
CAMERA SETUP
Q&A
Put the rose in a vase,

1 making sure that the stalk
GEAR CRAFT
is as vertical as possible. Place

it about 30cm (12in) in front of
some black velvet.
Position a torch (or a flash)

2 facing down at the rose.
Try to light the rose but not the
background. Put your Nikon on a
tripod, select aperture-priority
(A) mode and set the aperture
to f/11 and the ISO to 200.
Use a shutter release to

3 take a few shots. Open
one in Photoshop and create a
Black and White adjustment
layer, select high contrast
yellow, then create a Curves
adjustment layer and make an
S-curve to boost the contrast.

CAMERA SKILLS
CAMERA SKILLS
NIKOPEDIA
Q&A
We shaped our glow sticks into
HOME PROJECT 5 rings and piled them up. Try
different arrangements for a
variety of results
BURSTING WITH COLOUR

UVHOLJKWWRFUHDWHVWULNLQJDEVWUDFW]RRPEXUVWHIIHFWV
5 QUICK TIPS
FIT TO BURST
urning your lens’s
T zoom ring while ■ Adding a weight to
GEAR CRAFT
taking a long the bottom of the tripod
exposure of some lights is will help to keep things
an easy way to produce stable as you zoom.
stunning results. Fairy
■ Decrease the
lights or a set of cheap
aperture size if you need
coloured light sticks (which
to use a longer exposure.
we’ve used here) are
affordable, easy-to-find ■ Time the rotation of
subjects for this project. the zoom ring to last
Once your Nikon is set through the full exposure
up on a tripod, all you need for the best results, and
to do is shift the zoom 01 Ready to burst 02 BANG! try to rotate evenly.
during the self-timed Arrange your fairy lights or light sticks Take a shot while smoothly rotating the
■ Hold the zoom for a
exposure and check the on a surface. Set your camera to manual, lens to the widest focal length. Check
split second after
results once the image has with an aperture of f/8 and a shutter the results for exposure – switching on
exposure starts for a
exposed. Each image is speed between ½ and 1 second. Make highlight warning is a good way to check
different effect.
unique so the technique sure that your camera is firmly attached for any burnout. When you’re ready to
becomes really addictive. to a tripod and face it down towards the take your proper shots, set the ■ Experiment with
It takes just a few minutes lights. Use AF to focus on the lights, self-timer for two seconds and start to longer exposure times for
to get one shot, but set then switch the AF mode to manual and rotate the zoom ring just before the brighter results and
aside a good hour or two to zoom the lens to the narrowest (most shutter releases, continuing the fuzzier-looking lights.
do the project justice. telephoto) angle of view. movement throughout the exposure.
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CAMERA SKILLS
CAMERA SKILLS
HOME PROJECT 6 Shoot your images in quick

succession for the best
results – the movement
COOK UP YOUR
should look continuous
OWN RAINBOW
SSOLWFRORXUFKDQQHOVDQGFUHDWH
NIKOPEDIA
PXOWLFRORXUHGLPDJHVRIPRYHPHQW
ack in the days of film, then combine the red channel
B Robert Harris of Kodak
invented this complex
from one, the blue channel from
another, and the green channel
exposure technique. It’s one of from the last. The only hard part
those clever effects that can is that you’ll need to use
catch the eye, and digital Photoshop CS or CC to access
technology has made creating the images’ colour channels and
your own Harris effect image put the final image together.
really straightforward. You We’ll show how it’s done with a
simply shoot three near plate of fruit pies and a few
identical pictures of a scene and spoonfuls of falling sugar…
IMAGE ANALYSIS 1
1
The sugar is
Q&A
captured by the
flash light as it falls. 2
2
Three images are
used, with a single
colour channel (red, green,
blue) taken from each to 3
create the final image.
3
Areas that are
different in each
channel appear in a single colour, while static objects appear in full
colour because they’re in the same place in every channel.
GEAR CRAFT
STEP BY STEP Give your fruit pies the kaleidoscopic Harris shutter effect
Any element that moves will change colour, so don’t be tempted to eat one before you’ve finished shooting them!
01 Set the scene 02 Just add sugar 03 See red

Make sure that your camera is firmly attached Set the camera’s self timer to two seconds and Open the images in Photoshop. In the first
to a tripod, then set up and compose the shot, start to sprinkle the sugar. After the shutter image, click Channels, click the Red channel
ensuring that there is enough room to capture fires, check the shot for exposure and adjust and use Cmd/Ctrl+A then Cmd/Ctrl+C to select
the falling sugar. Set the camera to aperture- accordingly. Repeat the process to capture and copy. Create a new document, click Channels
priority mode and switch on your flash. three good shots with plenty of falling sugar. and paste with Cmd/Ctrl+V into the Red channel.

CAMERA SKILLS
CAMERA SKILLS
HOME PROJECT 7
SOLAR POWER
MLPLFFRORXUVRODULVDWLRQ
etting an inanimate add more light and shadow, and
G scene to look interesting
can be difficult. When
we’ve also imitated a traditional
darkroom technique called
NIKOPEDIA
it comes to still lifes, the lighting solarisation. It adds visual interest
is key. Even, flat lighting will pick by giving the tones an almost
out all your subjects’ tone and negative and metallic look. The
texture, but it can create a rather process is simple: once you’ve
dull image. taken your shot, you adjust the
For this project we’ve placed a Curves in Photoshop to flip the
blind in front of the light source to tones and get this striking look.
Q&A
Solarisation was one of the first special
effects in photography, being recognised as
early as the 1840s – but now it’s easy to do!
GEAR CRAFT
MANUAL FLASH
It’s best to use a
flashgun in order to
freeze the icing sugar
in every shot, in which
case try setting the
flash to manual for
more flexibility over 01 Adjust the tone 02 Boost the colour
the exposure Open your image in Photoshop CS Flatten and duplicate the layer
or CC and create a new Curves using Cmd/Ctrl+Alt+Shift+E, then

adjustment layer. Next, create a invert it using Cmd/Ctrl+I to create
point at the centre of the line and a negative of the original picture.
move this up to the top of the At this point it might look a little
04 Finish off curve, then grab the highlights flat, so to improve the tones go to
Click the next image and copy the Green point at the top-right of the curve Image>Adjustments>Shadows
channel, then paste it into the new document’s and drag this right down to the and Highlights and boost the
Green channel. Repeat the process with the baseline so the curve forms an shadow to lighten the tone. Finally,
last shot and the Blue channel. Click RGB in the arch rather than the usual tweak the Levels to boost the
new document to see the final image. diagonal line. colour and tone further.
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CAMERA SKILLS
CAMERA SKILLS
HOME PROJECT 8
LIGHT TRAILS AND BOKEH

AGGLQWHUHVWWRVKRWVZLWKORQJH[SRVXUHOLJKWWUDLOVDJDLQVWVRPHVWXQQLQJ bokeh
intage bottles always
V make great subjects. You
NIKOPEDIA
can use them as

interesting vases or focus on one
bottle on its own, as we’re doing
here. For this project you need a
torch attached to a piece of string,
a bottle, and placed a foot behind
the bottle, a string of fairy lights.
First, fit a lens with a wide
aperture to your Nikon, then set up
your camera on a tripod. You need
a long exposure for this shot, so
either set the shutter speed or use
Bulb mode, as in project 3 (page
59). With the lights out, press the
shutter button and spin the torch
around the bottle to create the
Q&A
spiral effect. You can add

additional colour and vibrancy in
Photoshop after the shoot.
EXPERT ADVICE
MAXIMUM BOKEH
■ To max up
the bokeh in
your shot you
need to make
the backdrop
GEAR CRAFT
as out of focus
as you can get it. Use a lens
with the widest maximum
aperture you can find (a
50mm f/1.8 or 50mm f/1.4
would be ideal. Bright
highlights in the background
(fairy lights in our picture)
make the shapes. If you use
any lens at its maximum
aperture, you get circular
shapes. If you close the
aperture down at all,

you get shapes that
correspond with the
number of blades of the
aperture diaphragm (in
our picture, there were
six blades, so we got
hexagon shapes).

CAMERA SKILLS
CAMERA SKILLS
NIKOPEDIA
The clear shapes and
intricate skeletons of fish
make them perfect for this
Q&A
5 QUICK TIPS HOME PROJECT 9
FISHY PHOTOS
■ Note which side faces up
when you shoot your fish and
make sure that this side
X-RAY VISION
LRRNLQJIRUDSURMHFWWKDWZLOOUHDOO\JHW\RXUKDQGVGLUW\"
remains up when you
photograph the bones.
GEAR CRAFT
salmon is a tasty
■ Adjust the bones shot to
fit perfectly over that of the
uncooked fish by going to
A treat, but it also
makes a fantastic
photographic subject.
Edit>Transform>Warp.
However, we used a less
■ Brighten the bones using expensive mackerel for our
a Levels adjustment layer ‘X-ray’ images. You have to
before flattening. shoot the fish before and
after it’s cooked – one
■ Create a Curves
complete with the flesh,
adjustment layer and make
and one stripped to the
an S-curve to boost the tone.
bone with just the head
To define the features use

and tail remaining. You
Image>Adjustments
>Shadows and highlights.
then superimpose the
photo of the bones over the
01 Capture the fish 02 Overlay the bones
Photograph the fish twice. First, simply Reduce the opacity of the top layer.
■ Shoot under natural light one of the fish to create
lay it onto a white background and Use the Free Transform tool to adjust
because flash will create the X-ray look. To boost the
shoot it with an aperture of around f/8. the bones image to fit the original.
harsh lights on the scales. If effect it helps to invert the
Next cook it, strip off the flesh and Using the Warp tool will help. Switch
that’s not possible, try to colours, so shooting
reshoot. Once done, take both images the Blend mode to Overlay, flatten the
diffuse or bounce the flash. against a white
into Photoshop and paste the image of image and invert (Cmd/Ctrl+I). Use
background helps.
the bones over the one of the raw fish. Hue/Saturation to boost the colours.
www.ebook777.com
CAMERA SKILLS
CAMERA SKILLS
NIKOPEDIA
Q&A
GEAR CRAFT
HOME PROJECT 10
3 QUICK TIPS
GET YOUR FIVE A DAY
CUHDWHVWULNLQJ+'5OLNHPDFURLPDJHVIURP\RXUIULGJH
FAKE HDR EFFECT
■ Use off-camera flash
positioned at the head of the
vegetables to help illuminate
ou can’t miss the shots The subject matter is important. interesting dishes are other
the textures.
Y
that adorn the pages of While you could use almost any possibilities for backgrounds.
supermarket and food fruit or vegetable, one with a good Camera-wise all you’ll need is ■ Strong shadows and
magazines these days. It seems variation of tone, shape, texture your Nikon SLR, a standard lens, a highlights will give the shot
that even the most humble and colour will get you the best tripod and a flash, which we’ll use an HDR effect, making it
vegetable is put through some results. Also, think about the type in Commander mode. If your Nikon much more distinctive.
creative process or another. So of background that you want. We’ve doesn’t have Commander mode
■ Add a dark edge using
why not put some veg through used an old chopping board, which then an off-camera flash cord will
Lens Correction Vignette in
a creative process of your own and shows the colours and scars from do the job and shouldn’t set you
Photoshop to help focus
come up with a macro picture to use, which adds interest. Baskets, back more than £20/$30. So, let’s
attention on the veg.
grace your kitchen wall? battered baking tins and zoom in on our asparagus…

CAMERA SKILLS
CAMERA SKILLS
HOME PROJECT 11
JUST DROP IN!

CDSWXUHZDWHUGURSOHWVLQDÁDVK
aking water droplet check where the droplet falls
T shots takes time to and place a ruler across the
NIKOPEDIA
master, but the overall bowl at that point, then focus
technique is simple. For this your camera there.
project you’ll spend most of your Take a test shot and check the
time getting set up! exposure. If the image is too
In a darkened room, create a bright, adjust the power of the
rig to let drops of liquid fall into flash. To capture the shot takes
a bowl for you to shoot by timing because you’ll use flash,
suspending a bottle with a not shutter speed, to capture
small hole in the lid above a the image. Once you have the
bowl of water. Once that’s done, timing sorted it’s easy. HOME PROJECT 12
01 Go manual
Set your camera to
manual. Use an aperture
of f/11 and a shutter
speed of 1 sec. Set
JUICY FRUIT
Reveal PRXWKZDWHULQJ colour
Commander mode in
Q&A
Custom Settings>
he different textures, capture the patterns and
Bracketing/ Flash>Flash
Cntrl For built-in flash. T tones and colours of
fruit lend themselves
textures in the cross-sections.
The key is to lay the fruit on a
to macro photography. While light source – we’ve used a light
02 Fire away the outer shapes and variations box. If you don’t have access to
Set aperture and flash of skin details can create one of those, you can achieve
power to get the right instantly gratifying shots, the similar results by placing a slice
exposure, and use a long inner flesh of citrus fruit can upright and shining a torch
shutter speed. Just before come alive with a little through it from behind.
the water drops fire the projected light. Position your camera directly
shutter. Trigger the flash For this project you’re going above the fruit on the light
with the test button as the to shoot sliced oranges to source and let’s start…
GEAR CRAFT
droplet hits the water.
01 Shoot the fruit
Select aperture-priority
mode, f/8 and ISO200.
Set the camera to mirror
lock up and use a shutter
release to avoid blur.
Move the AF point to the
edge of the fruit and lock
onto it, then take a shot.
02 Brighten it
Open the image in
Photoshop and open
Levels. Hit Cmd/Ctrl+L,
grab the slider
adjustment on the right,
go to Highlights, and
move this to the left to
brighten the image.
www.ebook777.com
PUBLISH A
PHOTOGRAPHY
BOOK
SET UP A PHOTOGRAPH YOUR

PHOTOGRAPHY OTHER INTERESTS
BLOG AND PASSIONS
PULL A
PHOTOGRAPHY
STUNT
NIKOPEDIA
OFFER YOUR OWN

PHOTOGRAPHY
TOURS
PRINT YOUR OWN

PHOTOGRAPHY
CARDS
GET YOUR WORK SET UP A

FOUND OUT VIA PHOTOGRAPHY
WORD OF MOUTH WEBSITE
RUN WORKSHOPS
Q&A
& ONLINE TUTORIALS
SHOW OFF YOUR

WORK ON
500px
TRY TO FIND A
PHOTOGRAPHY NICHE
TO SPECIALISE IN
GEAR CRAFT
EIGHT NIKON PHOTOGRAPHERS SHARE…
80
Get your photos seen… Become an online success…

Make cash from your camera… and then turn pro!
CAMERA SKILLS
SEND OUT REGULAR
PHOTOGRAPHY
NEWSLETTERS
SHARE YOUR
PHOTOGRAPHS
ON FLICKR
MAKE FRIENDS
AND TWEET ON
TWITTER
NIKOPEDIA
CONNECT TO
PHOTOGRAPHERS
ON FACEBOOK
BUILD A CULT FOLLOWING
OR PHOTOGRAPHIC
FAN BASE
GET YOUR WORK
PUBLISHED
IN MAGAZINES
ILLUSTRATION : Robin Wells, www.robinwellsdesign.com

SEND YOUR FIRST
COVER SHOT
TO N-PHOTO
Q&A
WHY NOT JOIN BI-LINGUAL?
PHOTOGRAPHIC DOUBLE YOUR
SOCIETIES CLIENT BASE
00
D52
GEAR CRAFT
1 SHOOT FOR STOCK 2 SELL US A COVER 3 SHOOT WEDDINGS 4 SELL FASHION SHOTS
5 SNAP HORSES 6 FIND YOUR NICHE 7 SELL TRAVEL SHOTS 10 TAKE THE PLUNGE
www.ebook777.com
CAMERA SKILLS
CAMERA SKILLS
JEFF CLOW SAYS…
“I’M AN ACCIDENTAL PRO…

I WAS FOUND ON FLICKR! ”
NIKOPEDIA
ABOUT THE
PHOTOGRAPHER
Name: Jeff Clow
Location: Texas, USA
Website:
www.jeffclow.com
Cameras: Nikon D800
and D7000
Q&A
▪ What is your
specialist subject?
Landscapes and
photo tours and books.
▪ Best paid shot?

‘Relaxation View’, a MY MOST STOLEN PHOTO!
shot of my wife in a Nikon D700, Nikon 24-70mm f/2.8
1/1250 sec, f/9, ISO640
hammock on the
beach in Cozumel
with cruise ships in
the background. It
16 KEY POINTS FOR… MAKING MONEY FROM LANDSCAPES
GEAR CRAFT
was the first photo I

sold. It’s been bought
over 1,500 times in the
last five years.
0 1 DON’T BE AFRAID
TO MAKE MISTAKES
I made every mistake in the
photo sales and photo tour sales and
made my name known.
0 7 TRY THE BIG AND THE SMALL
I have large portfolios with
several agencies, but if
▪ Biggest photo
disaster?
My ‘Road to the
book at first, but I looked at literally
thousands of photos and began to ‘see’
what worked visually. 0 4 COMMENT ON
PHOTOS YOU LOVE
Look at others’ photos
there’s a new agency I’ll give them
some photos to see if they take off.
Clouds’ photo has

been shared and
posted on Facebook
02 GET ONTO FLICKR
The likes and comments
online and leave insightful comments
on them. They will likely reciprocate.
0 8 DON’T SPEND ON
KIT AT THE START
Some of my best-selling
and other online sites
I received on Flickr are the
05 SELL STOCK photos were taken with an entry-level

reason I pursued pro photography. It’s Selling to stock libraries Nikon D-SLR. Wait until you’re making
over 20,000 times
great for getting feedback. It’s where is a great indicator of money before you spend on kit.
without my
someone suggested selling stock. whether you’ve got skill.
permission .
▪ First time you

knew you’d made it?
When I got my first
0 3 SHARE OFTEN
I attempt to put up an
original shot every day on
my online portfolios, and I’ve
0 6 KEEP UPDATING YOUR
STOCK PORTFOLIO
Most stock sales are tiny
– we’re talking £1-£10 per shot. But
0 9 DON’T NEGLECT OTHER
SALES OPPORTUNITIES
The vast majority of my
magazine cover. SHARE YOUR

developed a large following on each of every little helps. I also sold my first PHOTOGRAPHS
ON FLICKR
them. That exposure has led to lots of ever magazine cover via a library.

CAMERA SKILLS
CAMERA SKILLS
MY BEST-SELLING SHOT
This picture of my wife was taken with a
compact, and has sold for stock 1,500 times!
OFFER YOUR OWN
PHOTOGRAPHY
TRY SELF-PUBLISHING TOURS
My first eBook is about what I know best...
the best photo locations in Grand Teton!
NIKOPEDIA
non-stock sales have come from my cent of my participants have come
online portfolios on Flickr, Google Plus back on a tour with me again.
1 3
and 500px. There’s not a week that
goes by that one of those sites doesn’t BE PREPARED
generate a lead for a photo sale. If you’re leading a tour, you
1 0
need to be ready for anything.
BRING YOUR SKILL I don’t leave home without a backup
SET WITH YOU camera and a handful of batteries.
Draw on your current skills
when you’re making it as a
photographer. My years working as a
corporate executive taught me the
value of planning and being thorough.
1 4 PUBLISH A BOOK
Got a clutch of beautiful
shots? Publish a book, but look
for a niche, like my Dirt Cheap Photo
Guide to Grand Teton National Park.
1 1 RUN A GREAT PHOTO TOUR

When I run my landscape
photography tours in the Grand
1 5 DO IT YOURSELF
I researched the options and
Q&A
Teton National Park I pretend I’m a found out that publishing a
participant and do all the things I’d digital book is simple. I wrote it in Word
want done if I were paying the fee. and it was accepted by Amazon.com.
1 2 LOOK AFTER YOUR CLIENTS

On a photo tour, some people
want a lot of help and some
don’t. I listen to my participants and
adjust accordingly, and over 60 per
1 6 SHARE WITH YOUR FANS
I asked all of my Flickr
followers to review my book,
and that flood of buyers lead to a
publisher giving me a deal.
5 TIPS FOR… SELLING YOUR FIRST MAGAZINE COVER
GEAR CRAFT
A cover photo is a specialised thing – it needs to have room for words, and
then you have to get it into the hands of the people who’ll publish it
Sydney-based
Bhuminan
Piyathasanan’s
18 Sold a cover? Start
shouting about it
My first cover photo was found
20 You don’t need a website
Other photographers
swear by their websites, but I’m
beautiful on 500px, and being published a coding dunce so I find it easier
landscape gave me the confidence to to share my work on Flickr,
images on Flickr (flickr.com/ submit images to other titles. 500px and Facebook. Make sure
people/atomiczen-) have been Since then I’ve been published in your contact details are listed.
featured on magazine covers a lot of photography magazines.
worldwide, including N-Photo.
19 Be easy to reach 21 Connect with other

photographers
17 Shoot vertical

Shoot every subject both
horizontally and in portrait form,
If you get a request for a
photo from a magazine, send
files promptly and reply to
Whether they’re local or you
meet them online, make contact
with photographers who are
and save the shots as raw files. emails quickly. Once you’ve got a similar to you or whose work you
Your portfolio will be a lot more contact, email in contact sheets admire. You can share info on A good magazine cover shot needs lots
flexible when selling shots to of your work regularly to keep potential clients, and they might of space for words and extra pictures
publications or stock libraries. editors up to date. recommend you for projects.
www.ebook777.com
CAMERA SKILLS
CAMERA SKILLS
MEG JOHNSON SAYS…
“I GET FOUND AND BOOKED FOR

WEDDINGS VIA FACEBOOK”
NIKOPEDIA
14 KEY POINTS FOR… SHOOTING WEDDINGS FOR MONEY

22 DEMAND THE BEST
FROM YOUR WEBSITE
It’s worth investing to have
a really professional-looking website
designed. You’re only as good as the
window you present to the world.
ABOUT THE
PHOTOGRAPHER
Name: Meg Johnson
Location: Plymouth,
UK
Website: www.
23 KEEP IN TOUCH
I find word of mouth is the
best way to attract new
clients, so I encourage all my wedding
clients to stay in touch – they’re more
megsphotos.co.uk
likely to mention me to friends.
Cameras: Nikon D40
Q&A
and D3000
▪ What is your
specialist subject?
Weddings and
24 VOLUNTEER YOUR
SERVICES
I volunteer as a
photographer for The Barbican,
Plymouth’s historic harbour area. It’s
portraits.
great for diversifying my portfolio, and
they’ve helped promote my work.
▪ What was the first
job you ever made
money from?
It was a wedding, and I
didn’t know the bride
beforehand. I was so
25 DON’T NEGLECT YOUR
PERSONAL PROJECTS
I love shooting macro and
recently completed a 365
GEAR CRAFT
photography project, taking a shot

nervous on the way to
every day. Creative projects help me
the church that I was
get followers on Facebook and Twitter.
shaking in the car.
▪ First photo you

had published?
A shot of my
grandfather’s hands
26 GO LOCAL ONLINE
When I use social media
I always try to share local
pictures and news – I find it
encourages clients in my area to get in
WHY YOU NEED A ‘NIFTY FIFTY’
Nikon D3000, Nikon 50mm f/1.8D
1/160 sec, f/1.8, ISO100
was published in a
touch, such as the bride who just
magazine in 2010.
booked me via Facebook.
I was so excited to see
my work in print. wonders for portraiture and still life
30 DON’T RELY ON EDITING

▪ Best paid job?

A wedding I
27 BLOG ALL ABOUT IT
Keep everyone updated and
show off pictures from your
work. It gives fantastic depth of field.
It’s rarely taken off my Nikon.
Don’t use Photoshop for
more than a few little
tweaks. Learn how to take great shots
29 DON’T BE A FAIR WEATHER

latest wedding on a blog and then link in camera – it’ll save you editing time
photographed at the
end of last year. I don’t
to it on social media. It’s a great way to PHOTOGRAPHER and keep you out of trouble.
boost traffic. You’ll have to put up with
have a set price list, I
tailor the cost to the
needs of each client.
28 INVEST IN A 50mm
I find a 50mm lens such as
an Nikon 50mm f/1.8G does
gale force winds, sleet and hail during
weddings to get the shots you need.
I now wear a giant spotty waterproof
over my dress and camera if needed!
31 DIVERSIFY YOUR SKILL SET
I offer make-up artistry
skills, which attracts clients
who want model and actor headshots.

CAMERA SKILLS
CAMERA SKILLS
5 TIPS FOR… MAKING MONEY
FROM FASHION PHOTOGRAPHY
,W·VRQHRIWKHPRVWGLIÀFXOWDUHDV
to break into, but it’s possible to
get into the glamorous world of
fashion photography – just be
prepared for hard work!
Guernsey-based Simon
38 Stay local
NIKOPEDIA
Boucher-Harris quit a career Look out for
in finance to follow his opportunities on your
passion for fashion doorstep. I made a name for
photography. See more at myself locally and now work
www.renegade- as the head photographer for
photography.co.uk Made in Guernsey, a magazine
that showcases the island’s
36 Look for a gap in

the market
businesses and people.
ESSENTIAL DETAILS
When I first started out I took
a long, hard look at what
other photographers were
39 Join a society
I’m a member of
the SWPP (Society of Wedding
Couples plan every detail of their big day, so
get as many of them on camera as possible offering. The wedding market and Portrait Photographers).
seemed really oversaturated It helps clients find me and
so I decided to focus on lets them know they can trust
fashion, commercial and my portrait work as I come
MAKE IT FAST
The ‘first dance’ tends to be advertising photography. ready-approved!
Q&A
dimly lit, so a fast 50mm comes
into its own here
37 Work like crazy
I love what I do but I’ve
had to work very, very hard to
40 Find models online
If you’re starting out
shooting fashion and beauty,
get to a level where I can you may be able to find models
support myself from my who will pose in return for
photos. Whether I’m editing shots for their portfolios.
images or organising new Sites to check include Model
shoots, I usually work a Mayhem (www.model
seven-day week. I think I had mayhem.com) and Purple
three days off last year! Port (www.purpleport.com)
GEAR CRAFT
The more you can offer in a package, down with my brides to make
the more valuable your time will be. sure that I know exactly what they
3 2
want, and that nothing will be
PRINT YOUR SHOTS missed on their big day.
34
I supply my clients with
their photos in a variety of STUDY PHOTOGRAPHY
formats, including in albums and as My university degree in
framed prints, as part of my service. photography gave me
the time and tuition I needed to
3 3
MAKE TIME TO really get to grips with
TALK TO YOUR CLIENT photography. Plus, you can borrow
Communication is key when tons of amazing camera kit! If you
you’re booked for a new wedding. I sit have the time, consider a degree.
PRINT YOUR OWN

PHOTOGRAPHY
CARDS
35 COVER OTHER EVENTS
Think you’ve got to grips
with weddings? Then you
LOOK LOCALLY
You won’t start at Vogue – look
have the skills to cover christenings, for local businesses needing promo shots
birthdays and business events.
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CAMERA SKILLS
CAMERA SKILLS
RICHARD DUNWOODY SAYS…
“I GAVE UP RIDING RACEHORSES

FOR PHOTOGRAPHING THEM”
NIKOPEDIA
MATTIAS GARLAND, 2012 MONGOL DERBY

Nikon D700, 24-70mm f/2.8
1/2500 sec, f/4, ISO800
ABOUT THE
PHOTOGRAPHER
Name: Richard
Dunwoody
Location:
Berkshire, UK
Website: www.richard
dunwoodyphoto
Q&A
graphy.com
Camera: Nikon D4
▪ What is your
specialist subject?
Horses and travel.
▪ What’s the first

shot you ever made
money from?
This portrait of
Mattias (right). I sold
it to three Swedish
GEAR CRAFT
magazines.
▪ Best paid
assignment so far?
Animal charity The
Brooke sent me on a
month’s assignment
to Egypt, Pakistan,
India and Guatemala.
▪ Biggest photo
13 KEY POINTS FOR… GETTING YOUR NAME KNOWN
disaster?
41 BE PASSIONATE managed a sports marketing business,
4 4 GET TRAINED UP
When you’re starting out, and been a corporate speaker before I There are all sorts of ways
I was photographing
you’ll naturally be more bought a D70 in 2007. There’s always to get training. I signed up to
the Mongol Derby
comfortable shooting something you time to get serious about a new career. a nine-month photojournalism course
when the power cable
know well – for me that was horses. at the Spéos Photographic Institute in
of my Mac blew up!
None of the shops in
Ulaan Baatar had
anything like that. I’ll
A passion for your subject will shine
through in your images.
4 3 USE CONTACTS
If you’re trying to make
money from photography on
Paris. It was intensive but I learned a
huge amount.
take a spare this year!

42 IT’S NEVER TO LATE TO GET
INTO PHOTOGRAPHY
I’d been a champion jockey,

the side of your day job, use the
contacts you already have and don’t
be afraid to knock on people’s doors. 45 INVEST IN COMPUTERS
I need good computer gear
because when I’m shooting
CAMERA SKILLS
CAMERA SKILLS
Don’t stop shooting – regardless
of your niche, you can submit your
photos to a range of magazines
NIKOPEDIA
A telephoto zoom is great
for sports – but you don’t want
to carry more than one
an event such as the Mongol Derby,

I spend the evenings editing in
Lightroom and I send images home
using an Inmarsat BGAN launchpad
and MacBook Pro.
48 TRAVEL LIGHT
Carry little but choose
great quality. I rely on
my Nikon 80-400mm f/4.5-5.6G
telephoto zoom lens because it’s
5 0
GET WRITING
EXPERIENCE
Regular racing columns
gave me valuable writing
experience. Now if I’m pitching
5 2
HOLD AN EXHIBITION
My first photography
exhibition, of my work for
The Brooke, opened in London last
year. It’s fantastic exposure, and an
easy to carry about. photos to a travel or photography exhibition is a great way to get your
46 MAKE YOUR WEBSITE

WORK HARDER
I use my site to sell
49 MAKE DETAILED
SUBMISSIONS
title I can write a piece to go with
them if needed.
work shouted about.
5 3 PUT IN THE

images from events as well as
showcasing my new images and
I send my best photos in
low-res along with a description
5 1 NEVER STOP SHOOTING
Even on my quietest days
OFFICE HOURS
You’ve got to be prepared
Q&A
sharing PDFs of my work in print. and metadata to magazines, and I’ll usually head out to to spend as much time indoors as
it’ll often yield a printed photo. photograph sport. When I was out – I have days of editing images,
47 BRANCH OUT

As well as my
photography I also
lead f our trips each year for
adventure company Wild Frontiers.
YOU SHOULD
INVEST IN
COMPUTERS TOO
riding I was always worried I would
never ride another winner. It’s a bit
like that now with photography; the
driving force is the fear that I’ll
never get another decent image!
sending out files, updating my site,
invoicing and planning the next trip.
If I can sell images on the back of

these trips then that’s a bonus!
6 TIPS FOR… FINDING YOUR NICHE
GEAR CRAFT
%HFRPHNQRZQDVDVSHFLDOLVWDQG\RX·OOÀQG\RXUVHOI
the go-to photographer for certain types of shot
Gill Moon offers landscape,

lifestyle and sport
photography, specialising in
56 Print cards
Cards are a great
way to make extra money
water sports. See her work at because they’re cheap to
www.gillmoon.com produce yourself (try a
service like moo.com).
54 Use your existing knowledge

I’ve always loved the sea, so it made
57 Sell calendars
sense to photograph sailing events. Working as My first calendar of SEASONAL JOB, ALL YEAR
an events photographer has really taken off, seascapes sold really well and I produce one Even if the subject of your photography is seasonal, items like
and is now a big part of my work. annually. I’m lucky to be married to a graphic cards, prints and calendars will generate income year-round
designer, who helps me design everything!
55 Make it clear you’re a specialist

The great thing about working In a
tight-knit industry is that people will hear of 58 Work seasonally
Sailing photography in Britain is very
59 Juggle JPEG and raw
If I’m shooting an event I have to quickly
upload shots for people to buy, so shooting
you as an expert in their field. Specialisation seasonal. I spend the summer on the water and JPEG makes sense. If I’m on a job for a magazine
encourages clients to seek out your services. the winter organising projects for the next year. or a corporate client, I always shoot in raw.
www.ebook777.com
CAMERA SKILLS
CAMERA SKILLS
ELISABETTA ROSSO SAYS ...
“I TRAVEL THE WORLD TEACHING

PHOTOGRAPHY WORKSHOPS”
NIKOPEDIA
ELEPHANTS IN KENYA
Nikon D700, Nikon 50-500mm f/4.5-6.3
1/640 sec, f/10, ISO400
ABOUT THE
PHOTOGRAPHER
Name: Elisabetta
Rosso
Location:
Turin, Italy
Website: www.
elisabettarosso.com
Q&A
Cameras: Nikon D700

and D800
▪ What is your
specialist subject?
I shoot weddings and
teach travel
photography.
▪ What’s the first

shot you ever made
money from?
16 KEY POINTS FOR… GETTING YOURSELF OUT THERE!
It was a fine-art print.
60 BILINGUAL? DOUBLE

67 MAKE FRIENDS
GEAR CRAFT
After amassing tons of travel images

They always sell well
as stock images. I am
YOUR CLIENTELE I now get paid to teach in Africa, the ON FACEBOOK
My website is available in United States and Iceland. Facebook is my
creating a small
English and Italian, and I teach travel first port of call for updating
fine-art and
contemporary
photography gallery
in my studio.
workshops in both languages. It helps
me secure international shoots.
64 FIND YOUR BALANCE
Juggle your areas of
expertise. I spend 40 per
and sharing with my 10,000 fans. I also
like to keep in touch with clients from
previous photography trips.
▪ What is the most

you’ve made from a
shoot?
61 SHOW YOUR QUALIFICATIONS
My website is plastered with
the logos of the associations
I’m a member of. It shows that I take
cent of my time shooting weddings, 40
per cent photographing and teaching
travel and 20 per cent on studio shoots.
68 PUT THE PLANNING TIME IN
I’m an instructor on the
Nikon School’s trips. It’s a
Weddings are a great
my work seriously.
65 GET IN-DEPTH KNOWLEDGE dream job, but the logistics planning
If you want to shoot travel takes up as much time as shooting!

source of income
because I charge
around €1400. I’m a
member of ANFM:
Associazione
62 ENTER COMPETITIONS
Enter photo competitions.
Winning them gets great
coverage and looks good on your bio.
it helps to focus on one or
two places. I’ve been to Iceland so
many times now that I know the best
locations, light and how things work. 6 9 GET YOURSELF KNOWN
I’m always keen to get my
shots into world-class
66
photography publications like
Nazionale Fotografi di
Matrimonio, an
organisation for
wedding photographers.
63 SHOOT IT FOR FREE
Figure out what you want
to be paid to shoot and do it
for free first to show off your skills.
GO BIG WITH IMAGES
Get a website that gives
your photos pride of place.
They speak a thousand words, after all.
N-Photo: it’s a great way to build up
a relationship with a magazine and
get your name and work seen by
potential tour clients.

CAMERA SKILLS
CAMERA SKILLS
5 TIPS FOR… TAKING THE PLUNGE AS
A PROFESSIONAL PHOTOGRAPHER
It’s not going to be easy, but if
you’re prepared to put the work
in, you can make your
photography hobby into a paying
and rewarding career
PLAN YOUR TRIPS
You can’t get back wasted time on Mark Upfield (www.
78 Follow trends
NIKOPEDIA
location – put in time planning beforehand muphotographic You’ve got to balance
landscapes.com) has spent shooting what you love with
eight years building up his shooting what’s popular.
expertise. He now shoots Keep an eye on magazines,
landscapes and offers websites and competitors to
family portraiture and see what’s on trend in your
wedding photography specialist area.
in Hampshire.
76 Shadow a
professional
79 Don’t give up
I have heard
statements like “That’s not
Gain experience by working a real job” and “You can’t
as a trainee in a studio, or by make money from
shadowing a photographer. photography any more” so
It won’t make you much many times I now switch off
money, but it’ll give you the when conversations head
know-how to start charging that way. I now work longer
Q&A
for your work. hours – I love every minute.
77 Catch the dawn

for landscapes
Want your landscape shots
80 Join forces
As well as selling my
landscape images I’m also
to sell? You’ve got to get up part of a company called
JUGGLE YOUR WORK early to capture classic Simply Event Photos (www.
Vary your work to maximise sunrises. I often wake up simplyeventphotos.com),
revenue streams
and drive to my location at covering weddings with a
4am. I’ll be back at the team of photographers.
studio and editing shots by While you split the profits,
8:30am. It depends on the you gain support, contacts
70 INCLUDE A PRESS PAGE pay as well as print, but they’re great
time of year, however! and expert knowledge.
GEAR CRAFT
If you’ve been mentioned or for exposure. I’ve had my shots in the
published somewhere, ask National Geographic web galleries.
for a PDF or a screengrab of your
article and share it on your website.
7 1 PRICE IT RIGHT

Whether you run workshops or
shoot weddings, make sure
74 SHOOT THE UNUSUAL
Make your work stand out.
I recently shot a series
called ‘Round is beautiful’ devoted to
the beauty of mothers-to-be – it’s had
your fee covers your costs, but don’t a lot of good feedback and shows off a
price yourself out of the market. different style of mine.
72 DON’T FORGET FINE-ART

75 THROW OUT THE RUBBISH
People are prepared to pay Think before you shoot, and

more for shots that they afterwards take an objective
seen as fine-art. Wherever you are, look at the photo. Is the photo saying
take some shots specifically to frame something to you? If not, trash it.
and sell as prints.
GET THE RIGHT SHOT
73 SUBMIT IMAGES

TO WEBSITES
Photography websites
GET YOUR WORK
PUBLISHED IN
MAGAZINES
You might have to get up earlier or later
than you like. It’s all part of the job!
and curated online galleries don’t
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NIKOPEDIA free ebooks ==> www.ebook777.com
Page 80
Q&A
GEAR CRAFT
Page 84

CAMERA SKILLS
Nikopedia
Lenses: part 1 .........................................................80
Page 92
Lenses: part 2 ........................................................84
Raw vs JPEG........................................................... 88
NIKOPEDIA
Depth of field ......................................................... 92
Exposure .................................................................. 96
Sensor size ............................................................ 100
Getting more from raw .................................. 104
The exposure triangle .....................................108
White balance .......................................................112
Q&A
Page 100
GEAR CRAFT
Page 96
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NIKOPEDIA
CAMERA SKILLS
This cormorant close-up was captured

at the wide end of a 12-24mm lens on a
Nikon full-frame camera
NIKOPEDIA
Q&A
NIKON KNOW-HOW
GEAR CRAFT
LENSES: PART 1
Your choice of lens helps to define your photographic style. Find out how…
“Choice of lens is a matter wide angle for an interior view or a assignments for clients, but for his normal-looking pictures. My
of personal vision and telephoto for wildlife, but for the own work, which consists of his favourite lens is the 28mm because
comfort”. Those are the words vast majority of regular shooting, defining pictures, he used only a it gives me a different perspective
of American photojournalist Mary your choice of focal length depends 50mm, for the simple reason that he with a minimum of distortions.”
Ellen Mark, and pretty well echo the on the visual effect it gives, and on firmly believed that his camera was Others go longer, and as we’ll see
way in which most experienced what you feel comfortable with. “the extension of my eye”, and that this month, lenses are personal.
photographers feel about their Most of us have some sort of 50mm gave him the view that he Camera models come and go, but
lenses. And I do mean ‘feel’: the relationship with particular lenses, considered eye-like. your choice of lenses is a part of your
glass in front of the camera has and in some cases the lens has Other photographers have own particular way of making
more to do with defining a become very much a part of a different styles. For instance, Annie photographs. Focal length is usually
photographic style than it does with photographer’s distinct style. Leibovitz said, “I look for images that the decision-maker, though as we’ll
simply being convenient for a type of Henri Cartier-Bresson, the master of are a bit different – a little surreal. see in a later issue, there are also
subject. It’s true that there are street photography, used a selection The normal lens is a challenge to different designs of lens that can
practical considerations in needing a of lenses when he was on paid me. I have to work to avoid getting make the difference.

NIKOPEDIA
CAMERA SKILLS
LENS CHOICE
PRIME LENSES
OR ZOOMS?
Should you stick with
fixed focal lengths
or plump for the
flexibility of a zoom?
Zooms are both a
NIKOPEDIA
convenience and a
complication. Long gone are the
days when squeezing a range of
focal lengths into one lens led to
sub-standard optical quality, and PRIME LENSES ZOOM LENSES
Nikon’s ‘professional set’ of
What’s good What’s good
14-24mm, 24-70mm and 70-200mm ■ The best have top optical quality ■ Uninterrupted, smooth choice of
lenses enable you meet most about the composition, and to use ■ Usually simpler construction, so framing options across a range of
conceivable needs with just three your feet to change it. Indeed, with less to go wrong lenses, from 14mm up to 200mm
lenses (though admittedly heavy all the other things going on in a ■ Smaller and lighter than a zoom ■ Offer a range focal lengths in one
ones). The inevitable impossibility of shooting situation, you might even covering the equivalent focal length lens, so more flexible
correcting all distortion across the find that tweaking the focal length ■ At matched quality, significantly ■ Optical quality of good zooms is up
less expensive than a zoom to scratch
range by optical design matters very with a zoom ring is a choice too far.
little, as most processing software Zoom lenses actually demand ■ Capable of wider maximum What’s not
apertures at matched quality ■ Typically more distortion and
will automatically correct for this. more attention from the aberrations than primes
Prime or fixed focal length lenses photographer than prime lenses, What’s not
■ You have to move around more for ■ Very cheap zooms sometimes
are making a comeback, however, because turning the zoom ring
Q&A
framing (though this can be helpful) compromise on optical quality
bolstered for some by the appeal of doesn’t just change the angle of view ■ Need more lenses in the bag to ■ Individually much heavier lenses
exquisite optical quality and (see page 83), it also alters the style cover a range of focal lengths than their equivalent primes
character, and for others by being of the image. Some people find that ■ Top quality primes can be really ■ Good quality zooms are expensive
smaller, lighter and neater. A fixed challenge stimulating, but it’s a expensive (but that’s inevitable)
focal length forces you to think more necessary consideration.
CROP FACTOR
FX, DX AND FOCAL LENGTH
The size of the sensor in your camera makes a difference
GEAR CRAFT
Nikon’s ‘full-frame’ FX sensor camera – not really wide-angle at all.
format has the same dimensions Look at this the other way around and
as a frame of 35mm to get the equivalent of that 28mm
film and when focal lengths are wide-angle view, you’d need 18mm.
described as being standard, wide- Hence the term ‘equivalent focal
angle or telephoto, it’s this format that length’ that’s often listed in a lens’s
everyone refers to. However, the same specifications.
focal length on a smaller-sensor DX
camera behaves as if it were half as A DX sensor has a ‘crop factor’ of x1.5.
Multiply the focal length of the lens by
long again. So, a 28mm wide-angle lens this amount to discover the ‘equivalent
on an FX camera would give the view of focal length’ – or the one required to give
a 42mm focal length lens on a DX the same view as with an FX sensor
Super-wide Normal wide-angle Standard Mid-telephoto Telephoto Long telephoto Super-telephoto
FX Less than 20mm 20-35mm 40-60mm 70-100mm 150-200mm 300-400mm 500mm and more
DX Less than 14m 14-23mm 26-40mm 46-67mm 100-140mm 200-250mm 350mm and more
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NIKOPEDIA
CAMERA SKILLS
LENS RANGE
THE POPULARITY STAKES
Nikon’s lens range runs from super-wide to super-telephoto, but which are the most popular focal lengths?
Take a look through Yes,the definition of what qualifies near-standard lenses dominate of sources and arranging them from
practically any serious as standard is vague, but what all the archives of photography. The super wide angle to super telephoto,
collection of notable handheld these images have in common is majority of photographers have the result looks like a bell graph with
photography from the first use of that they offer views that are easy to always concentrated on finding standard focal lengths crowded in
35mm film in the late 1920s right imagine seeing with our own eyes. interesting content, often to the the central peak. This is a bit
NIKOPEDIA
up to today, and you’ll see that the Of course, what is actually exclusion of searching for stronger different from the impression you
great majority of images were, and happening in that view is anything graphics from more extreme lenses. might get from looking at the list of
continue to be, shot with lenses but ordinary in a good photograph, Taking a couple of hundred Nikon lenses (or any manufacturer),
close to standard focal length. and that’s a clue to the reason why mainstream images from a variety but it’s worth pausing for thought.
STANDARD
On the other side of the
Stylistically, the traditional focal
‘standard’ divide, telephoto also
length groupings are based around MILD WIDE-ANGLE MILD TELEPHOTO has shades of meaning, from
a so-called ‘standard’ focal length
mild (between around 70mm
that’s between approximately
and 100mm) to long (between
40mm and 60mm.
200mm and 400mm).
Beyond 400mm is the

realm of the super-
Q&A
Regular wide-angle ranges MEDIUM

from around 20mm to telephoto, culminating
TELEPHOTO
35mm, shading to mild at in the Nikon AF-S 800mm
the 35mm end but going f/5.6 (longer still if you add a
towards super-wide at TC800-1.25E teleconverter).
the 20mm end. WIDE-ANGLE
TELEPHOTO
SUPER-WIDE
GEAR CRAFT
SUPER-TELE
05 08
01 07 11
02
06 09
12
03 04
10
01 03 05 07 09 11
INTERIORS The only way PANORAMICS STREET The classic PORTRAIT iPhone ARCHITECTURAL SPORT Shooting
to capture the sense of Sweeping views need lenses vary from standard selfies apart, portraiture DETAIL For picking out positions are rarely closer
being in a room with a a super-wide lens to down to wide-angle, tends to look the most decoration and detail than a touchline or
sense of the total space? capture everything appropriate for being flattering with a mild above ground level, a equivalent, making long,
Wide-angle from a corner. in a single frame. in the thick of things. telephoto lens. long lens is essential. fast telephotos ideal.
02 04 06 08 10 12
ARCHITECTURE To show LANDSCAPE Regular STILL-LIFE Content and ACROSS-THE-STREET LANDSCAPE DETAIL WILDLIFE To get
buildings in the context landscape photography is arrangement dominate, A specific kind of street This includes distant, frame-filling shots of
of their settings needs typically carried out using so unobtrusive standard photography that compressed landscapes, skittish or dangerous
much the same wide a moderate wide-angle lenses are usual for demands distant shooting and is a style that calls critters, the longer the
view as interiors. zoom or prime lens. studio-based still-lifes. for candid results. for a regular telephoto. lens, the better.

NIKOPEDIA
CAMERA SKILLS
LENS EFFECTS
ANGLE OF VIEW
Wide-angle lenses let you squeeze more in, telephotos help you pick out details… but there’s much more to it than that
NIKOPEDIA
WIDE-ANGLE LENSES ‘STANDARD’ LENSES TELEPHOTO LENSES
GRAPHICALLY STRETCHED AROUND ABOUT 50mm, SO FLATTENED, CROPPED,
YET DRAWING IN THE VIEWER CLOSE TO THE WAY WE SEE COOLER AND DISTANT
With an angle of view wider than about 60
degrees, and as much as 99 degrees before we
reach the strange world of super-wides, shorter

Whether you feel that your normal way of seeing
is a bit wider, like a 35mm lens, or rather more
concentrated, like 60mm, that narrow range
While wide-angle optics pull things apart
graphically, telephotos push them together,
giving a flattening effect that reduces rather than
focal lengths can squeeze a lot into the frame. around 50mm is what most of us think of as exaggerates differences in the size of things. That
Nikon’s 20mm, 24mm, 28mm and 35mm lenses basically similar to our vision. It’s unobtrusive. works for portraits (noses and chins no bigger
are classics, although these lengths are now You could even call it middle-of-the-road, than they should be) and for the compressing
embedded in a number of zooms. Using them on perhaps characterless, and that would for many effect that appears to enlarge the background, as
Q&A
a wide open vista with everything distant misses photographers be very much the point, in that the illustrated above. The longer the lens, the more
the point of wide-angle style; getting in close to a lens optics simply don’t get in the way of the pronounced the effect – and remember to factor
scene is often more interesting. Paradoxically, a subject. Cartier-Bresson, who hated talking much in the ‘crop factor’ of the sensor size. DX sensors
wide-angle separates a foreground from the about equipment, is on record as saying that the record a smaller area of the image projected by
background by pulling the scene apart (see above), 50mm he mainly used “corresponds to a certain the lens; mount a 400m lens on a DX camera and
while at the same time putting the viewer into the vision and at the same time has enough depth of the effective focal length is 600mm, with the
scene when the foreground breaks the frame. focus, a thing you don’t have in longer lenses.” angle of view narrowing from six to 4.2 degrees.
GOOD FOR Environmental portraits, where you can get GOOD FOR Street photography, documentary work, GOOD FOR Situations where you can’t physically get
close to someone but still show their surroundings still-life, low-light pictures – pretty much everything! close to a subject, such as wildlife and sports
NOT SO GOOD FOR Tight portraits. Shooting someone NOT SO GOOD FOR Pictures that ‘shout’ – the NOT SO GOOD FOR Close-up shots; telephotos are
close up will lead to a distorted ‘egg-head’ effect ‘standard’ view creates images that just look natural unable to focus on subjects at very close distances
GEAR CRAFT
The shorter A 50mm lens Telephoto

the focal on an FX lenses offer
length of a full-frame a narrow
lens, the D-SLR has an angle of view
wider the angle of view – typically
view – from of 46°, but on from 28.5° to
62° (35mm a DX camera, 2.5° – so they
equivalent ) a 35mm lens only ‘see’ a
to 99° (20mm gives the small part of
equivalent) same view the scene
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NIKOPEDIA
CAMERA SKILLS
The doughnut-shaped bokeh in

this image tells you that it was
taken with a mirror lens
NIKOPEDIA
Q&A
NIKON KNOW-HOW
GEAR CRAFT
LENSES: PART 2
Which optic do you choose when you’re in search of extremes?
It seems to be very much a wide-angle will almost never be assignment and creative brief to distortion. (At the widest end, there’s
personality thing, but some on the camera. I will shoot with the another. It’s no surprise, then, that usually noticeable barrel distortion.)
photographers have always telephoto two or three times before advertising photographers and the Art Kane, for instance, made 21mm,
experimented enthusiastically I ever go to the wide-angle.” Even fast-disappearing breed of general close-and-distorted fashion
with the extremes of focal length, Walker Evans, famous for his magazine photographers are the photography his hallmark, and the
at least for periods within their ‘plainspoken’ record of Depression- ones who are most likely to carry a style soon became almost normal in
careers. Bill Brandt, for example, era America, was fascinated wide range of focal lengths in their the United States and Europe. But
shot his famous series of distorted with the compressing effect of a large camera bags. what is ‘fashionable’ can just as
nudes with extreme wide-angle, and telephoto lens, fully stopped down, For instance, when ultra-wide quickly be thrown out again,
American Jay Maisel was well- as part of his style of ‘pure record’. lenses (meaning anything shorter becoming yet one more cliché, as
known for his self-proclaimed Whatever drives this than 28mm) began to be used by indeed happened with the wide
‘telephoto vision’. He said: “If I walk experimentation, it’s found typically professionals in mass-market distorted look. When fisheye lenses
around, as I am used to, with a among photographers who need to publications in the early 1960s, became available, they too were
wide-angle and a telephoto, the be able to jump from one subject, they were controversial for their co-opted in a brief vogue.

NIKOPEDIA
CAMERA SKILLS
TAKE A WIDER VIEW
ULTRA-WIDES: WRAPAROUND AND FULL IMMERSION
You’ll get a visually extreme effect from an ultra-wide, and that calls for careful composition
One of the results of to side. This is one of two ways in exaggerates another kind of give ultra-wide lenses their special
increasingly sophisticated which ultra-wide is visually extreme distortion: a stretching outward character. Using an ultra-wide for
lens design is better performance at – an angle of view greater than we from the centre that becomes more style needs minute attention to the
the extremes of focal length. A side experience. The second extreme and more pronounced toward the camera position and angle. At 14mm,
effect of this is that the distinction effect is the inevitable distortion, corners (see The egg-head effect, for example, it’s less a matter of how
between ‘normal’ wide-angle and which can be somewhere between below). The strategies for dealing much distortion than where, and the
NIKOPEDIA
ultra-wide has shifted over the powerful and weird, depending on with this perspective distortion are slightest movement when you’re
years, and most photographers now your taste. One of the lens designer’s entirely in your hands, and depend framing a shot makes a big
consider 20mm to be just ultra-wide. main tasks with an ultra-wide is to on how you compose the shot. difference. An inch to one side can
The defining quality of an correct barrel distortion, in which The exaggeration of geometry is change things dramatically, so
ultra-wide lens is a view wider than straight lines close to and parallel to strongest when you have a close shooting with one of these lenses is
most people would be aware of the frame edges bend outwards, like foreground and a deep shot, but an intensive experience. Doing it
without turning their head from side on a barrel. Achieving this, however, these are exactly the conditions that quickly and well takes practice.
THE EGG-HEAD EFFECT

All wide-angle lenses other than
fisheyes are designed to be
rectilinear, which means keeping
straight lines straight. Rectilinear
distortion, which is what they’re
trying to correct, comes in two
Q&A
flavours: barrel and pincushion.
With wide-angle zooms, the
distortion changes from one to the
other as you zoom in. There’s an
unavoidable price to pay for straight
lines, however, and that’s the
increase in perspective distortion,
the stretching of shapes away from
the centre. The wider the wide-
angle, the more extreme the effect,
so a circular object in a corner
becomes an oval. Familiar shapes, Shot at a focal length of 14mm. When this photograph was A combination of my tilting forward and the man in orange
like a face, fare worst, as this pair of taken I tried to keep heads and other distortion-prone leaning back makes his head oval in shape (note the increase
GEAR CRAFT
images from a racing yacht shows. shapes away from the edges in size of the console)
EXPAND YOUR HORIZONS

FISHEYES
These lenses are ultra-wide and uncorrected
Aptly named for their self-explanatory full-frame. The
extreme coverage (180 extreme imagery possible made
degrees for the Nikon versions), them a novelty initially, but the
fisheye lenses trade straight-line overwhelming barrel distortion
correction for a wraparound view. can make anything more than
These were in vogue in the 1970s, occasional use repetitive and
and there used to be many different over-the-top. Nikon produces what is
designs, with the basic distinction essentially the same lens in FX and
being between circular (projecting DX format – the Nikon AF 16mm f/2.8
a circular image on the sensor Fisheye and the Nikon AF DX 10.5mm
surrounded by black) and the f/2.8G Fisheye.
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CAMERA SKILLS
GET MUCH CLOSER

SUPER-TELEPHOTOS – COMPRESSING PERSPECTIVE
Go long and capture scenes that you can’t see with the naked eye…
NIKOPEDIA
This image was shot at an effective

focal length of 840mm, and the
exaggerated compression effect this
has produced makes the flamingoes
seem much closer together than they
were in reality
Q&A
Just as ultra-wides define for both photographer and audience, photographing the whole thing”, have somehow ridden upward in
themselves by offering views is the key, and ‘I never saw that’ is adding, “I think if you add too much the frame.
we don’t normally experience the typical reaction. to your picture, you dilute it.” Two huge drawbacks attend this
because they go beyond the eyes’ When first using a super-telephoto, In addition, the essential world of normally unseen imagery:
side-to-side ‘awareness’ field, that is the way most photographers telephoto qualities of compression, weight and cost. A Nikon 600mm f/4
telephotos become super-telephoto work, searching for images with the flattening and plane-stacking are weighs five kilos, making it more or
when they reveal views so small and lens. The more experienced method exaggerated. As you can see in the less impossible to hand-hold, and
distant that they come as a surprise. is to train your vision to search for flamingoes image above, not only is awkward even to walk around with.
That happens for most people at detail. Jay Maisel, who built his the framing all but invisible to the And then there’s the price (£7,000 /
around 500mm, although as it’s to reputation on his use of telephotos, eye, but the scene it covers, probably $9,800). There is an answer of sorts,
do with visual sensation rather than said: “My proclivity is to look at the around 10 metres deep, is visually which is to use a mirror lens (see A
anything scientific, the transition centre and zoom in on something squashed flat, with the distinct Distant Mirror, below) and accept a
GEAR CRAFT
zone is vague. The surprise factor, that I want a detail of rather than impression that the birds behind drop in image quality.
A DISTANT MIRROR
Affordable magnification, with a few drawbacks
Once not just popular but fashionable, mirror lenses, also known as reflex or
catadioptric lenses, seem to be making a limited comeback at the lower end of the
market. The optics are borrowed from telescopes, specifically from a design known
as the Cassegrain, in which internal mirrors are used to achieve impressive focal
length (typically 500mm, but longer lenses have been made) in a short, compact
lens barrel. They had their heyday in the 1970s and 80s, and were actually liked for
their doughnut-shaped, out-of-focus highlights and slight lack of contrast. Those
doughnuts are now less highly regarded, but new ‘cats’ are still manufactured by
Samyang, Kenko and Opteka, and there are plenty available secondhand on eBay.
No, they’re not as sharp as an equivalent focal length telephoto, but they’re many,
many times cheaper (Samyang’s 500mm f/8, for example, costs around £120/$120).
They pass less light through their fixed aperture – typically an unremarkable f/8 for
a 500mm – but Nikon sensors’ good low-light performance overcomes that issue.

NIKOPEDIA
CAMERA SKILLS
FACE FACTS
PORTRAIT LENSES – BLURRING THE BACKGROUND
Portrait photographers often opt for a slightly longer focal length, and specialist lenses...
While ‘portrait’ is modern produces one such lens, the 135mm made in Russia at the Zenit factory It did this at the cost of a narrow
shorthand for the mid- f/2 DC. The DC stands for Defocus for Lomography, and there’s a field of view and pronounced
telephoto lengths of around 85mm Control, which means a separate Nikon-fit version. I say ‘new’ because oval-shaped blurred highlights that
to 135mm, because of the pleasing group of elements with their own the original Petzval lens, launched in gave the out-of-focus areas a ‘swirly’
facial proportions and good working ring control, enabling you to apply 1840, was a breakthrough in design. look. These defects actually
NIKOPEDIA
distance for rapport with the sitter, defocus to the out-of-focus It was the fastest lens of its time, enhanced its popularity among the
there have always been lenses by foreground or background and reduced typical Daguerrotype Pictorialists, and other lenses, like
this name with the special feature On the margins of seriousness studio portrait exposures from the Dallmeyer, were designed to give
of softening the focus. Nikon still is the ‘new’ Petzval lens, which is around 10 minutes to 30 seconds. a deliberate soft-focus effect.
STRAIGHTEN UP
TILT-SHIFT – FOR ARCHITECTURE AND MORE
If you want to avoid converging verticals in your shots of buildings, this is the lens to go for
Most lenses project an image the lens upward, you shift the view
circle that is just big enough upward also, but with all verticals
to cover the sensor, but tilt-shift staying vertical. Adding tilt does
lenses cover a wider area. They work something quite different – it tilts
by sliding the lens elements up, the plane of sharp focus so that you
down or sideways, which has the can align the focus better to a
Q&A
effect of sliding different parts of subject (like still-life objects on a
the scene into view. The main reason table), or do the opposite to throw
for wanting to do this is in parts of the scene unexpectedly out
architectural photography, to keep of focus. We’ll delve into this in a
verticals vertical. Otherwise, if you forthcoming issue, when we look
stand reasonably close to a building, at depth of field.
then even with a wide-angle lens you Earlier Nikon lenses, like the
need to tilt the camera upwards to 28mm f/3.5 PC, offered just shift,
take it all in, and the result is a shot but now the range of specialist
in which the sides of the building lenses combines shift and tilt. The
converge from bottom to top. Nikon 24mm f/3.5 PC-E, Nikon 45mm
The procedure is to aim the f/2.8 PC-E Micro and Nikon 85mm
GEAR CRAFT
camera level, which gives you a view f/2.8 PC-E Micro all boast both shift
with too much foreground and often and tilt. Third-party Nikon-fit lenses
cuts off the top of the building. But include a range by Schneider-
then, by shifting the front section of Kreuznach and Hartblei.
BRINGING EXTREME DISTORTION UNDER CONTROL

If you angle the camera, or shoot
close to a distinctive foreground
object when using an ultra-wide
angle, the result may stretch
acceptability – unless you shoot
while anticipating what you can

do later in Photoshop. Shooting at
14mm made it possible to capture
the front of this church. I aligned
the base of the statue with the lower Start with the verticals. Raise the top right to With the image area selected,
01 02 03
edge of the frame as that meant one Using the shift key to lock straighten horizontal lines use Scale to compress the
less distortion correction later. The movements in a single direction, use within the image, also using Distort, sides for more realistic proportions
corrections are so extreme here that Distort to pull out at the top and in at then press Return when you’re for the door, and sculpture, then
it’s best to divide them into stages. the base to straighten the verticals. happy to commit to the changes. raise the top to lose part of the sky.
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NIKOPEDIA
CAMERA SKILLS
RAW VS JPEG
Discover the ultimate guide to file formats…
NIKOPEDIA
With JPEGs, With RAW files,

detail in blown highlights can be
Q&A
highlights can’t recovered, and

be recovered, and midtones are
banding is an issue much smoother
These days, it’s the received takes place in the camera, and that’s your camera’s sensor. So the basic are all available to do later on your
wisdom that few dispute – where the answers to the RAW question is, do you want this to be computer, with software like
shoot RAW for better image versus JPEG contest lie. thrown away by the camera in the Lightroom, Photoshop or DxO
quality – but why and how tend to heat of shooting? Or would you Optics. They can do a better job than
be glossed over. If you’re aiming to Take control rather have some control over it your camera, and more than that,
get the best out of your images (and Not that there’s anything later, with the better processing they can recover tones that might
who isn’t?) it’s important to know intrinsically wrong with JPEGs. capabilities of a computer? otherwise be lost – as well as letting
exactly what a RAW file has to offer. They’re the way we see the majority you set whatever white balance you
GEAR CRAFT
Here we’re going to take a look of photographs these days (and your Do it yourself like. This might not be obvious,
under the bonnet of the RAW format, final image will probably be a JPEG), If you retain the RAW file, then the because all in-camera processing
and at the sequence of events that but a lot of stuff gets thrown away key steps of demosaicing, correcting software ‘hides’ the basic steps, so
result in a viewable, and normal- when creating a JPEG from the the colour and applying a human- what comes out of the camera is a
looking, photograph. This sequence original data that is captured by eye-like gamma curve (see below) ‘normalised’ image.
WHAT’S IN THE NAMES?

JPEG, RAW… it’s not always immediately apparent what a format’s name means
■ RAW isn’t an acronym. It simply ■ JPEG, which stands for Joint ■ The level of compression, and
means raw, as in unprocessed. It’s a Photographic Expert Group (the so the quality, can be chosen. In
‘file format’, a digital way of storing people who devised it), is the most practice, there is no visible difference
the information caught by the sensor, common file format for photographs, at a normal viewing size between a
and each camera manufacturer has and was designed for transmitting high-quality JPEG and any other file
its own way of doing this, which is images by keeping the file small. format, such as a TIFF (Tagged Image
why the suffixes are different. It does this by compressing the File Format). TIFF files preserve full
Nikon’s is .NEF, which stands information, and in the process image quality without any of the loss
for Nikon Electronic Format. loses some image quality. associated with JPEGs.

NIKOPEDIA
CAMERA SKILLS
HOW AN IMAGE IS MADE
FROM SINGLE CLICK TO FINISHED IMAGE

You press the button, but then a whole sequence of events takes place inside your camera
NIKOPEDIA
Q&A
01 Demosaicing DxO and other firms put a lot of effort 03 Apply gamma curve 04 Tidying up
Something called a Bayer filter array into getting this right. The sensor records light in proportion Various other jobs include applying
sits in front of the sensor, and each of its to the exposure – that is, in a linear way. some sharpening to take care of the
02
pixel-sized filters are coloured either red, White balance Our eyes are more complex. They have a slight softening caused by demosaicing,
green or blue. This is how the otherwise The overall colour is adjusted according logarithmic response, which essentially and adjusting the overall contrast and
colour-blind sensor records colours, and to the choice selected on the camera. means that they can sense a much wider saturation of the image.
this blocky patchwork of colours in the For reasons which are too complex to go range of brightness at the same time. An
image has to be processed to resemble into here, Bayer filters feature twice as original linear image looks too dark to the 05 Convert or save
the original colours in the scene. This many green filters as red and blue ones, eye, and to appear normal needs to have Finally, if you chose to shoot in the JPEG
is processing-intensive and better which adds a green cast that needs to a strong adjustment curve applied to it, format, the file is now converted by the
tackled by a computer – in fact, the best be removed. The white balance setting known as a 2.2 gamma curve (see below). camera, with all other data discarded.
GEAR CRAFT
demosaicing procedures are iterative, chosen from the camera menu is kept as This effectively expands the darker pixel If you chose to shoot in RAW, everything
and these are too slow for a camera’s a tag which, if the RAW file is saved for levels into a wider range of tones, and is kept, and the various processing steps
processor. Software engineers at Adobe, later processing, you can change. squashes the brighter pixel levels. can be revisited.
IN-CAMERA CORRECTION
LINEAR CAPTURE AND GAMMA CURVES

Cameras don’t work like our eyes – and that’s why it’s easier to recover details from shadows in RAW files
We treat the way we see as non-linear. A sensor, however, is work, this correction is not an that might appear to have been lost
natural and straightforward, linear. Twice the brightness is overall increase in brightness, but by a less-than-perfect exposure,
yet it’s anything but. Even our basic recorded as twice the signal. The an increase that favours the dark particularly in the shadows.
response to different levels of result is that a linear image capture, tones. In the form of a graph it is a Applying a stronger gamma curve
brightness is complex. We see twice which is what your camera gets as steep curve, as shown above, known will pull more visible detail out from
the brightness, for example, as only soon as you take a shot, would look as a 2.2 gamma correction. Seen as a those densely packed shadow areas.
a slight increase, and we are aware very dark. You never get to see this, tonal range from black to white, the In other words, most of the
of changes in dark tones much more because the camera automatically correction spreads the tones out information in a just-captured image
than in bright ones. In other words, applies a correction to make it look evenly. This is why a RAW file allows is clumped in the dark areas, and
the response of our eyes to light is normal. To match the way our eyes you to recover details in an image needs to be pulled out.
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NIKOPEDIA
CAMERA SKILLS
NUMBER CRUNCHING
PULLING APART THE PIXELS

Many Nikons can shoot RAW files of different bit depths – here’s why it matters
Computing works with ‘bits’
– basically zeros or ones – and
most of the images we see on screen
use eight bits to describe each pixel,
for each of the three colours, red,
NIKOPEDIA
green and blue. Eight bits, also

known as 28, gives 256 possible
values for each of these colours.
When these three colour ranges are
multiplied together (ie 256 x 256 x
256) the number of possible colours
in an image, from pure black to pure
white, is 16.7 million. As these
numbers can get out of hand when
we talk about higher bit-depths (well
into the billions), it’s normal to use
bit-depth as a kind of shorthand. Here’s an image straight out of the When we boost the tones in the JPEG Because a RAW file contains more
There’s the potential for confusion camera – it looks a little bit flat version, we get horrible posterisation data, it still looks good after boosting
depending on whether we’re talking
about bits per channel or the overall in tone, where it manifests itself as
number of bits, but per-channel is obvious banding.
Q&A
usually used (eight bits per channel There are two occasions when
means 24 bits per pixel – eight for red, this happens. It always happens
eight for green and eight for blue). when converting the freshly-
As you can see from the table captured image from linear to
below, even an eight-bit JPEG has viewable (in other words, when
more colour options than we need applying the 2.2 gamma curve,
for viewing an image – it records 16.7 described on page 89), and it may
million colours, and we can only see happen if you process an image
about 10 million. That would be more extremely, for example when trying
than enough were it not for the work to save an under-exposed shot.
that needs to be done on digital This is where having a higher
images. If you make big changes to bit-depth than eight-bit makes a
brightness or colour, for example, difference. The more colours you
GEAR CRAFT
you are essentially increasing the have to play with, the less damage is
differences between adjacent pixels. done when they’re stretched out by
If the bit-depth is low when you do the gamma curve. That’s why some
this (i.e. if there aren’t enough Nikons, like the D810 and D4S, offer
colours and tones to work with), you the choice of 12-bit or even 14-bit
there’s likely to be a noticeable jump, capture. Both take up more space,
and this can appear as a hard line and can slow down the shooting a
separating two areas. This is called little, but they ensure better image
posterisation, because the results quality, especially in the dark areas.
can look like blocky poster art. it RAW, and in particular 14-bit RAW,
occurs across the image, but is most definitely has the edge with very
obvious in areas of subtle variation high-contrast scenes.
BIT-DEPTH AND THE NUMBER OF COLOURS & TONES Your Nikon captures more than your eyes can see!
Human vision eight-bit JPEG 12-bit camera 14-bit camera 16-bit TIFF
Bit-depth per channel 28 212 214 216
Number of colours/tones about 10 million 16.7 million 68.7 billion 4.4 trillion 281 trillion

NIKOPEDIA
CAMERA SKILLS
PUT TO THE TEST
SPOT THE DIFFERENCE

We pitted a RAW file against a JPEG to see how they fared when processed identically
Here is how RAW performs opening the image in Adobe Camera open both in ACR. Applying the same fist of recovering the blown
against JPEG in an extreme RAW (ACR): deep shadows that adjustments to both, the difference highlights, using the Highlights
lighting-and-colour situation – a conceal the curl of smoke; clipped is striking (the processing was first slider. On the JPEG, however, there’s
shaft of clear sunlight falling on a highlights; and distorted colour, done on the RAW file, and then nothing to work with because the
mosquito coil burner on a luridly especially at the edges of shadows. copied to the JPEG by means extra data has been discarded. And
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coloured tablecloth. The dynamic Here, two things enable us to of the Synchronize button). finally, look at the magenta band
range from shadow to highlight is make a direct comparison between Shadow detail that has been that borders the shadow edges on
very high, and the magenta-red is RAW and JPEG: one is that I always preserved in the RAW file, and that the original, unchanged version; on
in an area of colour that is on the shoot RAW+JPEG, so both are enables us to see the smoke that the JPEG it stays, and is if anything
margins of what the camera can available and identical in timing; the has been lost in the JPEG. It just isn’t more exaggerated; with the RAW file
accurately record. So there are three other is that by checking a box in there any more. At the highlight end it blends back smoothly into the
problems that are apparent from Photoshop Preferences, we can the RAW processor makes a decent overall colour of the cloth.
Q&A
Here’s the image as it was shot. The smoke has Because there’s extra data in the RAW file, we’ve The colours have, if anything, got worse in the JPEG
vanished, the highlights are blown and the colours been able to recover the smoke and detail in the after processing, and the information for the smoke
GEAR CRAFT
are a bit off, so we’ll try to recover all that. highlights, and the colours are improved. and highlights simply isn’t there to recover.
FOR AND AGAINST EACH FORMAT It’s no surprise that RAW comes out on top, though JPEG has its advantages
RAW JPEG
What’s good What’s not What’s good What’s not
Retains full image quality Large files need more storage space Less storage space All other image data is discarded
You control which image data is Saving large files in-camera may slow Immediately available (such
Has some slight image artefacts
kept from the surplus available down shooting as for transmission)
Better processing on computer If perfectly exposed, as good No processing headroom means no

Processing on computer takes time
than in-camera as a processed RAW file way of recovering lost data
Can often recover exposure loss Not possible to change your mind
in shadows and highlights about settings such as white balance
RAW processing methods likely

to improve even more in future
Impossible to overwrite by mistake
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NIKOPEDIA
CAMERA SKILLS
Using depth of field

creatively is a great way
to direct the viewer’s
eye to precisely what
you want them to look at
NIKOPEDIA
DEPTH OF FIELD
Q&A
We reveal why depth of field is so crucial, and how to use it more creatively
As everyone knows, depth is a visual effect that we have very usual visual experience. You change typically over a metre away from
of field is defined as the limited experience of with our own the depth of field by changing size of your subject, so will be blurred out.
range of distance in front of the eyes. Healthy, adjusted eyes simply a lens’s aperture (see below). Depth At its most mechanical, depth of
camera in which everything looks see everything as normally sharp. If of field does not change with focal field is used to keep the important
acceptably sharp. It can be deep, you’re short-sighted or long-sighted length, but using a telephoto to parts of a subject sharp, but there
covering the entire scene, or it can (as more than a third of us are) then magnify a small part of the scene are more ways to use it to your
be shallow, with only a narrow band without glasses you’ll have some gives the impression of shallower advantage. You can use it to direct
sharp. It’s a term that we trundle out sense of blur, but it’s unlikely to depth of field. With a wide-angle the viewer’s eye, but equally, by
GEAR CRAFT
as if it explains everything there is to come anywhere near the smooth lens depth of field might be, say, a throwing some things out of focus,
know about aperture, but ‘why’ is blur in a selective-focus shot, or metre at f/4, so everything within a you can disrupt the viewer’s
much more important than ‘what’. in almost any macro background. metre of your subject will be expectations. Using depth of field
And the reason why it needs That’s why well-managed blur can acceptably sharp; with a long lens, means playing with the contrast
explanation is that depth of field be so appealing – it’s beyond our foreground and background are between sharp and blurred areas.
F/2.8 F/22
APERTURE AND DEPTH OF FIELD WHY SMALL MEANS BIG

■ Depth of field – the zone that is acceptably sharp in an image – extends in ■ If you have trouble remembering that smaller f/numbers indicate larger
front of and behind the plane of sharp focus, here shown in grey. Opening up apertures, you can think of it in terms of fractions: so 1/2.8 is about a third,
the aperture narrows the zone; closing (or ‘stopping down’) deepens it. whereas 1/22 is obviously even smaller than a twentieth, so much smaller.

NIKOPEDIA
CAMERA SKILLS
IS IT SHARP?
DEPTH OF
WHAT SHARPNESS REALLY IS FIELD AND
We all talk about sharpness, but what does the word actually mean? FOCAL LENGTH
Sharpness is not a scientific term, Depth of field doesn’t change with
it’s all about impression – if we focal length – though it looks like it
think part of an image is sharp, then it is.
■ It seems counter-intuitive, but depth of field
Sharpness is influenced by two lens
doesn’t change with focal length. And yet we all
qualities – resolution and acutance – but
experience what seems to be shallower depth of
also by subject, composition and our own
NIKOPEDIA
field when we’re using a telephoto lens, so what’s
expectations. Resolution is the ability of
going on? It’s because telephotos are normally used
a lens to separate fine detail, such as
to magnify a distant part of a scene, and wide-angle
narrowly-spaced lines, while ‘acutance’
lenses to take in more of it.
refers to how abrupt edges are between
If you were to shoot the same part of the scene
dark and light tones – local contrast, in
by moving forward with the wide-angle or stepping
other words. Improving both of these
back with the telephoto, the depth of field would
qualities, particularly resolution, is what
be identical. So, while strictly speaking focal length
lens designers and manufacturers strive
isn’t involved, in practice, because of the way most
for, and lens quality is judged on this
of us use wide-angles and telephotos, it does matter.
more than anything else.
However, beware of thinking of
sharpness as a gold standard. You
would nearly always expect, or want,
some parts of an image to be sharp, but
images can be powerful without this
quality. Maximum depth of field to give
sharpness throughout the frame may be
Q&A
good for some images, but it’s also
predictable, and prevents the creative
use of blur. To quote Henri Cartier-
Bresson: “Sharpness is a bourgeois
concept.”
70mm
HYPER-REALITY
GOING DEEP
When everything is sharp from front to back, it heightens the sense of reality
GEAR CRAFT
Even though focal length per
se has almost nothing to do
with depth of field (see right), one way
to ensure front-to-back sharpness is
to use a wide-angle lens, provided
that it’s stopped down to a small 28mm
aperture, like f/16 or f/22.
The technique really relies on
viewpoint and composition, with a
close foreground and a view in the
distance, and both ends of the scale
arranged in the frame so they relate

to each other. Ansel Adams, a master
of this technique, called it the
‘Near-Far’ approach. Sharpness that
extends from the front to the back of
the frame heightens the sense of
reality, and gives the viewer the sense
of being able to touch every part of 28mm (ENLARGED)
the scene.
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NIKOPEDIA
CAMERA SKILLS
BRING ON THE BLUR
STAYING SHALLOW
Shallow depth of field is often used to separate a subject from its background, but there’s more to it than that...
The standard use of depth of
field is when a specific area
needs to be sharp, but no more, as in
a head-and-shoulders portrait with
an out-of-focus background. In this
NIKOPEDIA
case a medium telephoto lens was

an obvious choice, both for flattering
proportions and for the relatively
shallow depth of field at this
distance, which separates the head
from the background. The important
zone in a portrait is from the tip of
the nose to the ears, typically a little
less than 20cm. At this distance,
f/1.4 gave the right depth of field
when focused on the eyes.
BOKEH: SOUNDS
FANCY, BUT IT’S STILL
JUST ORDINARY BLUR
■ The Japanese word ‘bokeh’
Q&A
(actually boke) is often used as

if it refers to the quality of lens
blur in photography. It doesn’t. It
means exactly the same as ‘blur’.
When you’re photographing faces, the area from the tip of the nose to the ears should usually be kept sharp
BLUR AS A TOOL
SLICE OF LIFE
You can use selective focus to direct the viewer’s eye towards your subject
GEAR CRAFT
At the opposite end of the

scale from keeping as much
as possible in the frame sharp is
using very shallow depth of field.
There is naturally more choice in
how to play it than with deep focus,
because you’re able to decide which
parts of the scene will be in focus.
The classic selective focus
approach is to keep sharpness
restricted to the tiniest part of the
scene, using the widest aperture

(and with a fast lens, such as Nikon’s
85mm f/1.4, depth of field can be
extremely shallow). Using a longer The lines of perspective draw your eye to the man, and selective focusing has made him the clear subject of the shot
focal length enhances this effect, as
does shooting in close-up. The eye is Buddha statues being gilded, leads between the sharp and blurred focusing) but also to have the
naturally attracted towards the viewer’s eye into the image. areas, so not only is it important to out-of-focus areas at some distance
sharpness, and so a ramp from soft Success in shots like this hinges choose the focused part precisely physically from the main subject of
to sharp, as in this scene in Laos of partly on exaggerating the contrast (and to be very accurate in your your photograph.

NIKOPEDIA
CAMERA SKILLS
SOFTER COLOURS
WATER IT DOWN – USING

COLOUR WASH FOR AN
IMPRESSIONISTIC FEEL
Blur mingles colours as well as softening detail
With shallow depth of field, the blurred areas are always
NIKOPEDIA
important, but sometimes they can take over the
meaning and purpose of the image. This can be especially
powerful in colour photographs, where intense blurring not
only smooths the tones in a background or foreground, but
can also ‘mix’ colours, to give an appearance similar to a
watercolour’s graded wash. Complimentary colours lend
themselves to vibrant mixes, while similar hues and pastel
colours, as here, produce a gentler, more subtle effect.
LOOK DEEPER
BEHIND THE SCENES

Blur the foreground to add interest to an image
An effective shallow-focus technique, understood visually. Why, you might ask, would be too strident, as in this case: the flower-
Q&A
thankfully not yet over-used, is to place the anyone deliberately set out to confuse? One bedecked hairdos of Bulang women at an annual
focus behind the subject, so that it has to rely on reason is to intrigue or surprise the viewer; ritual were important, but could still be conveyed
colour, shape and other clues to make itself another is when focusing on the subject might while looking beyond them at other participants.
GEAR CRAFT
In this shot of a Bulang woman, she’s been deliberately blurred in order to draw attention to the
other participants in the ritual. You don’t always need the main element to be sharp!
FOCUS STACKING – THE ULTIMATE SOLUTION

■ There are optical limits to depth of field. One is that at very
small apertures, such as f/29, the improvement in depth of
field is offset by ‘diffraction’, which produces a softness in
detail. Another is the high magnification needed in macro
photography, which means that even at a very narrow aperture

like f/22, depth of field is measured in millimetres when
shooting close-ups. One solution that gives the impression of
deep focus is focus stacking, which involves taking a sequence
of identically framed shots, and changing the focus from one to
the next. Specialist software, such as Helicon Focus used here,
can combine the sharpest areas from each frame into a single
image, adjusting for the slight changes in scale as it does so.
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NIKOPEDIA
CAMERA SKILLS
Understanding
exposure is the key to
capturing details in all
parts of a scene
NIKOPEDIA
EXPOSURE
Q&A
Find out why experience is so important when it comes to nailing exposure

With the choice of metering methods to trust it, and when to override it – a straw poll capture every tone from dark to bright: expose it
available, including Nikon’s excellent of editorial photographers reveals, unsurprisingly, so there’s plenty of detail in the darkest shadows,
3D Color Matrix metering system (which that most use aperture-priority mode. and the brightest highlights will blow out (think of
compares the pattern of brightness in the Essentially, exposure can be boiled down to 12 a landscape at sunset); expose for the highlights
frame with a database of over 30,000 images) basic situations, in three groups (see page 98). The and the shadows will be plunged into darkness.
there should be nothing getting in the way of starting point is simple, and looks at the dynamic There’s an exposure strategy for each group,
perfect exposures every time. Nothing, that range of the scene, and your camera sensor’s and these rely on identifying the important tone
is, except the crucial ingredient of what you ability to capture all of the tones in it, from the in the scene. This is the ‘key tone’, and it means
personally want the final image to look like. darkest to the brightest: a typical, evenly-lit scene what part of the subject is important to you, and
Many professionals bypass the uncertainty of will just fit the dynamic range of your sensor, how bright you want it to be – it could be a face, for
GEAR CRAFT
confronting a new exposure situation by relying more or less – that’s one group; or, if it’s flat and example, but is the subject’s skin pale or dark? Or
on their experience, comparing the new scene obviously lacking in contrast, it will easily fit – is the sunlit or shadowed part of a building more
with what they’ve done before. They also tend that’s group two. The third group, where most of important? These decisions are what make your
to stick to one exposure mode so that they’re the problems lie, is when the scene is so contrasty photography personal, so make your own shooting
familiar with its shortcomings, and know when that it’s out of range, and your sensor isn’t able to experience the driver for setting the exposure.
THE EXPOSURE TRIANGLE

There’s more than one way to expose an image correctly
– it all depends on want you want from your final photo
■ The beauty of choosing the exposure needs to be as low as possible to avoid

is that it’s all down to just three settings: noise. However, aperture and shutter
aperture, shutter speed and sensitivity (ISO speed are elective; whether it’s selective
in other words). The complexity, and what or deep focus, frozen movement or slo-mo
makes it interesting, comes from the other streaking, we need to factor these into the
effects that each of these has on the image. final choice of settings. Aperture-priority,
The ISO setting contributes no positive shutter-priority and program modes are
qualities to the final image, it simply Nikon’s way of helping you to decide.

NIKOPEDIA
CAMERA SKILLS
THE ‘KEY’ TO EXPOSURE
THE HISTOGRAM
IDENTIFYING THE KEY TONE TELLS (NEARLY) ALL
Once you know the area you want to expose for, you’re halfway there It’s your best friend for judging exposure
The fast track to successful ■ What if you’re still building up your experience, and aren’t
exposure is very much yet sure when to the override your camera’s suggested
based on experience and judgment, settings? That’s where the histogram view comes in. It may
and is simply this: learn to identify look daunting, but once you’re familiar with it, it can be a
the most important tone in the big help in evaluating exposure. Using it typically means
image you’re about to shoot, and taking a picture, checking the histogram for signs of over- or
NIKOPEDIA
then decide how bright you want it. under-exposure, and then adjusting the settings if needed.
This key tone may well coincide This is one of the built-in benefits of digital shooting, so why
with the obvious subject, such as not take advantage of it? Here are two different histograms,
the skin tone in a portrait, but it and the information they provide at a glance.
may just be a part of a subject,
such as the sliver of light around a
backlit subject (see left). The key
tone does not, of course, always
have to be an average, mid-tone.
Just think of the difference in a
portrait between very dark and
very pale: the former needs to be at
least a stop darker than an average
mid-tone, the other a little lighter.
Meter a stop darker than a mid-tone

to capture the beauty of darker skins
Q&A
TO OVERRIDE OR NOT TO OVERRIDE?
Over-exposed
TRUST YOUR JUDGEMENT A definite exposure error, with the bright tones
squashed up against the right – evidence that significant
You can use the settings suggested on auto as a starting point for your own areas are totally washed out and white. There’s also
underused space at the left where the shadows could
Automation in exposure, as in have been darker without losing information.
other camera operations like
focus, is, of course, a boon, and helps to
reduce the agony of botched shots. But it
carries with it a hidden deficit – it stops
GEAR CRAFT
you thinking about what the exposure
settings should be, so that when a scene
is tricky, even for the camera’s smart
metering, you may get an unpleasant
surprise. Step one to staying in tune with
exposure is to observe and note the three
settings that your Nikon’s automatic
exposure is giving you: aperture, shutter
speed and ISO. Too obvious to mention…?
You’d be surprised at how few
photographers know what settings they
actually use. Step two is to successfully
predict when you need to override auto,

and by how much. When you’re getting
that right most of the time, you’re ready Under-exposed
to take over any time the situation calls Another exposure error, this time with the dark tones
for it, and the confidence that comes squashed up against the left of the graph, indicating
from that puts you firmly in charge. that the darkest shadows contain no texture or detail.
This time, there’s also space over to the right, where the
Learning what settings your camera picks is highlights could have been brighter without blowing out.
the first step to choosing your own
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NIKOPEDIA
CAMERA SKILLS
EXPOSURE SITUATIONS
THE PHOTOGRAPHER’S DOZEN

There are only 12 key exposure situations, and only six that need more careful consideration
As already mentioned in the sensors have limitations in the range your sensor simply won’t be able situations you’re likely to encounter,
introduction, the reason there of tones that they can capture, from to capture everything in the scene including some problem ones, which
are any exposure issues at all is that the deepest shadows to the very you’re trying to photograph. Here together are made up of just 12
even the best, most sensitive brightest highlights. Sometimes are the three groups of exposure different scenarios…
NIKOPEDIA
EASILY FITS MOSTLY MID-TONES JUST FITS FULL RANGE OF TONES

Even more than in the three ‘Just Fits’ In lighting situations like those shown
scenarios opposite, where there is a full here, in bright (but not harsh) sunlight,
range of tones, you can – and should the dynamic range of the scene
– choose how bright or dark to render more or less matches that of the
your scene when the range of tones sensor, and there should be no
fits well within the range of your problems achieving a good
Nikon’s sensor. Again, the decision exposure. It still, though,
really comes down to whether means deciding whether
you want the overall exposure you want the overall
to be mostly mid-toned, bright exposure to be mid-
(high-key) or dark (low-key). toned, bright or dark.
Q&A
OUT OF RANGE OUT OF RANGE

LIGHT ON DARK DARK ON LIGHT
When the range of brightness in With dark subjects against
the scene you’ve framed is greater very light backgrounds, the
than the camera’s sensor is able to key tone is typically (though
record, this is when something has to not necessarily) provided by
give and you need to take special care in the lighter background. Exposing
thinking about the exposure. In cases like for this key tone keeps colour in the
GEAR CRAFT
this, the subject, rather than the background, background, while rendering the
usually provides the key tone. subject as a graphic silhouette.
EASILY FITS CAPTURE THE MOOD

Average Bright overall Dark overall

This could well have been rendered brighter Verging on high key, this was a similarly misty A mood change to low-key – again a personal
without looking over-exposed, but I wanted scene in which the subject called for a brighter, choice based on the subject – this time achieved
to maintain the feeling of low light at dawn; a much lighter mood, so I brightened the exposure by under-exposing by a stop. Note that while this
brighter exposure would have made it look like by 2/3 stop. An ‘average’ exposure would have has under-exposed the water and background
mid-morning rather than first light. given a result that looked a bit moodier. slightly, the larger flower is perfectly exposed.

NIKOPEDIA
CAMERA SKILLS
IF HIGH CONTRAST...
Recover in RAW
Lose shadow detail
Lose highlights
DECISIONS, DECISIONS
Shoot HDR
■ A logical exposure-decision workflow begins with the High-contrast loop means doing one of the following:
Add light deciding which of the 12 scenarios you’re facing and compromising between shadow and highlight detail and
WHICH EXPOSURE SITUATION? acting accordingly. If the light levels are low, this calls for recovering in RAW; exposing for the highlights and losing
IF LOW
a higher ISO, wider aperture or slower shutter speed, or shadow detail; exposing for the shadows and losing
LIGHT... a combination of all three. If the exposure scenarios are highlight detail; taking several exposures to capture
Up the ISO
Increase the aperture ‘Just fits’ or ‘Easily fits’ you only need to decide on your shadow and highlight detail and then processing as an
Decrease the shutter speed
key tone, but if you’re dealing with ‘Out of range’, then HDR image; adding light; or changing the composition.
NIKOPEDIA
JUST FITS CHOOSE FROM AVERAGE, HIGH KEY AND LOW KEY
Average Bright overall Dark overall

Despite the dark-skinned hippo and the water The plumage of the pelicans needs to be kept Again, even Matrix Metering would not be able
reflecting the sky, the overcast light keeps the close to white, so the exposure needs to be about to predict that this ceramic artwork should be
scene within the dynamic range of the sensor, so one stop brighter than the recommended reading. darker than mid-tone (by about one-and-a-half
there are no blown highlights or ‘clipped’ shadows, (Even Matrix Metering will try to render all that stops). Left to its own devices, it would’ve rendered
and the image is mostly made up of mid-tones. bright white as a mid-grey mid-tone.) it as mid-grey, resulting in a washed-out image.
Q&A
OUT OF RANGE DECIDE ON YOUR KEY TONE AND THEN COMPENSATE AS NEEDED
High-contrast overall Large bright subject Small bright subject
GEAR CRAFT
No one tone is more important than another, Here the key tone is that of the gilded bank sign, Taking an exposure reading for the small bright
so what are you prepared to lose? An ‘average’ and the exposure should be set for this alone. This area alone would suggest spot metering, which
exposure will wash out the shadows and blow the calls for slight under-exposure, otherwise the can be fiddly. Instead, use matrix metering and
highlights. Most of us would prefer to expose for shadows of the building would be rendered as compensate based on your experience – here,
the sky and let the shadows fall into silhouette. a mid-tone, and the sign would be too bright. we under-exposed by a stop.
Edge-lit subject Large dark subject Small dark subject

The key tone here is not the shadowed parts, but Decide whether you want the subject ‘averagely’ The same decision applies here as it does for
the edge of light. Expose for the edge-lighting for exposed, in which case expose for it and let the a large dark subject, but it’s more likely that the
a low-key effect, or open up the aperture so that background blow out; or in silhouette, in which background is the key tone, in which case you’ll
the edge-lighting blows out and we see more of case the background becomes the key tone, and want it much brighter than average (possibly two
the darker areas. This is a personal choice. skull will be rendered much darker. stops brighter in a case like this), but not blown.
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NIKOPEDIA
CAMERA SKILLS
An FX (full-frame)
sensor enables
you to capture
images with a
narrower depth
of field than a
DX sensor at the
same aperture
NIKOPEDIA
SENSOR SIZE
Here we explore what sensor size means, and why it’s important
Q&A
Every Nikon SLR uses one of the second is to pack fewer, but aperture, making them ideal for weight: if you shoot DX, you’ll save
two different sensor sizes, larger, pixels onto the sensor, which selective-focus shots when you money and your kit will be smaller,
which in Nikon terminology are results in images with less noise (the want to blur out the background lighter and generally more compact
dubbed FX and DX. FX refers to ‘full- larger the pixels, the better they are (with DX sensors the background and convenient to handle, plus you’ll
frame’, meaning 36 x 24mm, or the at gathering light). The result is will be blurred at wide apertures, benefit from one notable advantage:
same size as a frame of 35mm film better image quality in low light. just not as much – see page 103). the same focal length on a telephoto
(hence the term full-frame); DX FX sensors are also able to make All this, however, comes at a price, lens will give you half as much
refers to so-called APS-C sensors, the most of the full coverage of both in terms of literal financial cost magnification again (so, for example,
which are roughly a third smaller, at wide-angle lenses; and they produce (since FX cameras and lenses are a 200mm lens will give you an
23.6x15.6mm (though they do have images with a shallower depth of more expensive than their DX effective focal length of a 300mm
the same 3:2 ratio as full-frame field than DX sensors at the same equivalents) and in terms of size and lens on a DX body).
sensors. APS-C stands for Advanced
GEAR CRAFT
Photo System, type C). In terms of

image quality, FX sensors are better
SENSOR SIZES COMPARED
(all other things being equal) but The FX sensor format
they’re also more expensive to maintains the
manufacture, while DX sensors have dimensions of traditional
certain advantages, as we’ll see. 35mm film, while the DX
sensor format, which is
Creative control two-thirds smaller in
Cost and convenience are the terms of width and
reasons for these two sensor sizes height, covers less than
DX SENSOR
existing side by side, and the camera half the area (about 43
models built around them are aimed per cent). Here you can
at different sectors of the market. see how this affects the

At one extreme, if image quality is amount of a scene that
everything, full-frame is the natural you can get within the
choice, and you can choose between frame at identical focal
two different kinds of better image lengths – which is why FX SENSOR
quality: the first option is to pack you’ll often see us
more pixels onto the larger sensor referring to the ‘crop
and so deliver higher-resolution factor’ of DX cameras in
images that can be enlarged more; N-Photo’s lens reviews.

NIKOPEDIA
CAMERA SKILLS
WHY SIZE MATTERS
LOVABLE GRAIN VS
GRAIN VS NOISE UNPLEASANT NOISE
One’s part of the process, one needn’t be
Digital photography has many advantages over chemical techniques,
■ Here’s a detail of an image shot on Tri-X film side by side
but one distinct disadvantage when it comes to printing and enlarging with one shot digitally on a D4 at ISO20,000, so that the size
One negative contribution of digital The two main problems with digital are first, of grain and noise are roughly the same. Grain is integral to
technology to photography is that many that noise is hard to accept in the same way film and so easy to accept, but noise is external to a digital
photographers now feel more restricted about that film grain was – it’s a digital artefact, like image – the result of a bad signal – and has no merit.
the size at which they can show their final hiss in audio (see right); and second, that image
NIKOPEDIA
images. In the days of film, the only people who size and resolution numbers in programs like
cared about the size at which images could be Photoshop appear at first glance to set strict
printed before film grain became visible were limits on how big images can be printed before
clients and agencies in the commercial and noise and pixelation become noticeable. In
advertising world. For books, magazines and reality, digital images can usually be printed
galleries it didn’t really matter – if the grain much larger than most people think (see Pixel
was going to be obvious at a large size of count, image size and resolution, below, and
reproduction, so be it. It was part of the image. The all-important viewing distance, overleaf).
GOING LARGE
PIXEL COUNT, IMAGE SIZE AND RESOLUTION

The numbers and acronyms used to describe resolution can be confusing, but some are more useful than others…
Q&A
How big does an image need pixels per inch (ppi), which is safety margin – it was twice the The other common default
to be? It depends on what you sometimes referred to as dots per resolution of high-quality halftone resolution is 72 ppi, which goes back
want to do with your pictures. Below inch (dpi), but unless you deliberately prints of 150 lpi (lines per inch). to early Mac computers which had a
is a typical Image Size dialog box in resize an image file, the resolution Most photographs that are screen resolution of 72dpi – select
Photoshop, for an image shot on a has no effect at all, and for most printed nowadays go through an this in the dialog, and you’ll see how
D4. The important numbers are purposes you can safely ignore it. It’s inkjet printer. In practice, this means big the image can be displayed on a
overall image size (in MB) and the only useful in as much as it shows that if you select 300 ppi in an Image 72dpi computer screen at full size.
width and height in pixels. At nearly what size an image would be if it Size dialog, it’s overkill, and you can These days, though, all displays
50MB this is a healthy-sized image were printed at that resolution. The print to a significantly larger image have much higher pixel densities
that will print well at most sizes default is 300 for historical reasons. size than the one shown without any than that. And they vary: for
you would ever need. Years ago printers settled on 300 ppi noise or pixelation problems (unless, example, I have a 15-inch MacBook
But what about that resolution as a standard specification for digital of course, your image is extremely Pro with Retina Display, and its
number of 300? It stands for 300 image files because of its generous noisy in the first place). native resolution is 220 ppi.
GEAR CRAFT
The pixel width and Reducing the
height of an image resolution from
come directly from 300 ppi to 100 dpi
the sensor size, shows that the
and do not vary image would print
from image to larger, but at a
image. lower resolution
Selecting inches The resolution

instead of pixels makes no

shows the size the difference
image would be to the display on a
when printed out screen, as long as
at 300 ppi the pixel count
remains the same
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NIKOPEDIA
CAMERA SKILLS
TAKING A STEP BACK
WHY VIEWING DISTANCE IS ALL IMPORTANT

Think you can’t blow up images from a humble D-SLR to poster size? Think again…
The real key to the effect further back from, say, a two-metre still look acceptably sharp and free Roadside billboards, for example,
sensor size has on image print hanging on a wall. As a rule of from pixelation – provided that the are meant to be viewed from afar.
size is the distance at which the thumb, twice the diagonal of an viewer doesn’t step forward to For a practical idea of viewing
photograph is likely to be viewed, image is, for most people, a examine it in detail. And what if you distances and resolution, look at the
which when you think about it is just comfortable viewing distance. decided to make a wall- or poster- table below. We double the diagonal
NIKOPEDIA
common sense. Most people sit 40 This means that under normal sized version? Would it hold up? It of the image for the conventional
to 60 centimetres away from a circumstances you can enlarge an would, provided that the ratio of the viewing distance. Then, for the
laptop screen, but stand much image to almost any size and it will viewing distance stays the same. resolution needed, in ppi, we divide
3000 by the viewing distance (this
PRINT SIZE DIAGONAL VIEWING DISTANCE RESOLUTION NEEDED number is approximate, and comes
4 x 6 inches 7.21 inches 14 inches (just over a foot) 214 ppi from the angle of visual acuity – a
measurement of a normal eye’s
16 x 20 inches 25.61 inches 52 inches (just over 4 feet) 58 ppi
ability to resolve detail). As you can
48-sheet poster: 6 ppi see, really large images seen from a
268 inches 536 inches(about 45 feet)
120 x 240 inches
distance need only low resolution.
MAKING THE RIGHT CHOICE
FINER DETAIL OR LOWER NOISE?

Q&A
Image quality isn’t just about pixel count – the size of the pixels is every bit as important
When it comes to image appearance to the eye. The only detail, as in the D810; or a cleaner, finer detail, and as long as the
quality, it’s not just the problem is that smaller pixels catch less noisy image in low light, as with conditions are bright, the smaller
physical size of your camera’s sensor fewer photons of light, so when light the D4S. The sensor sizes are almost photosites that record the light have
that matters. It also depends on how levels drop, electronic noise – which exactly the same: 35.9mm x 24mm plenty of photons to work with. But
many pixels are crammed onto the is the result of the weak signal being for the D810, 36mm x 23.9mm for at dusk, say, or indoors, the much
sensor. The more pixels, the finer the boosted artificially by the sensor – the D4S. However, the D810 has more larger pixels on the D4S’s sensor
detail in the image, and so the larger plays a bigger part in the final image. than twice the number of pixels in capture photons much more
you can print the image while still You can’t have both, and Nikon’s that area: 36.3 million as opposed to efficiently than those in the
keeping the same detailed answer has been to offer either fine 16.2 million. That provides much D810, meaning less noise.
GEAR CRAFT
Extreme enlargement shows the difference in captured detail between the sensor used in the D810 and that in a D4S. The D810
has more pixels covering the same area. The difference here is between a 12x12-pixel square covering a single chain link, and
an 8x8-pixel square. However, the larger-but-coarser pixel pitch on the D4 allows it to function much better in low light

NIKOPEDIA
CAMERA SKILLS
EXTEND YOUR REACH
SENSOR SIZE, THE MIX ’N’ MATCH SWAPPING LENS AND BODY FORMATS
This is what happens when you interchange lenses and sensor sizes, using
lenses of the same equivalent focal length. FX on FX has the same framing
CROP FACTOR AND as DX on DX. An FX lens on a DX camera acts like a longer lens, projecting just
the central area onto the sensor. A DX lens on an FX sensor does not cover the
FOCAL LENGTH full frame, resulting in images with black corners.
Just what is the crop factor, and why is it so important?
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The same lens projecting image appears, as the actual focal
an image onto two different length hasn’t changed.
sizes of sensor obviously results in a Another way of expressing this
different amount of the scene being difference is as a crop factor. As FX ON FX FX ON DX
captured. The illustration to the explained above, the effect of using
right shows this more clearly than a smaller sensor on the lens
words can, but essentially the effect coverage is to crop into the image,
of using an FX lens on a camera with and the crop factor of a DX sensor is
a smaller DX sensor is that of 1.5x. Multiply the focal length of any
cropping into the image. lens by 1.5 times, then, and you have
What this means is that the angle the effective focal length.
of coverage is two-thirds less, which Sometimes you’ll see this given as
is also exactly what would happen if the Focal Length Multiplier, or FLM,
a lens of 50 per cent longer focal which is exactly the same thing.
length were being used on the FX But cropping any image surely
camera. Practically, then, FX lenses means a loss, doesn’t it? Yes, it’s
on DX cameras have an effective true that you don’t capture as much
Q&A
DX ON DX DX ON FX
focal length that’s 50 per cent of the scene. However, there’s
longer – so a 100mm FX lens will sometimes an advantage, especially
have an effective focal length of if you’re using an average-quality
150mm when used on a DX body. lens, because most lenses are
This is the case whatever the focal sharper in the centre than they are
length of the lens, so a wide-angle at the edges. In this sense, cropping
lens won’t be quite as wide. Note, can actually improve the overall
however, that this is just in how the quality of your photograph.
IN AT THE SHALLOW END
GEAR CRAFT
DEPTH OF FIELD FX VS DX THE FINAL SCORE
So, what do you get if you’re prepared to shell out for a full-frame camera,
One advantage of FX cameras is better background blur complete with its larger sensor? Here’s an at-a-glance guide to the ways it
If you’re after selective focus – a major appeal for some photographers will affect your photography, and the pictures you take.
– the larger the sensor, the better. The reason is straightforward: to
get the same framing with the same lens on different sensor sizes, you would FX (FULL-FRAME) DX (APS-C)
need to move closer with an FX camera than a DX. At the same aperture –
Resolution More Less
f/1.4 in the example shown here – that means a shallower depth of field.
Dynamic range More Less
Noise Less More

Cost More expensive Less expensive
Camera size Larger, heavier Smaller, lighter
Lens size Larger, heavier Smaller, lighter
Telephotos Less magnification More magnification
Wide-angles Wider coverage Narrower coverage

With the focus on the letter ‘O’, the same framing at the same aperture of f/1.4 Viewfinder Larger, clearer Smaller, less clear
results in shallower depth of field with the larger FX sensor (left). The reason is
that the DX camera has to be repositioned further away for the same framing Depth of field Potentially shallower Generally deeper
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NIKOPEDIA
CAMERA SKILLS
GETTING MORE
FROM RAW
Discover how to make the most out
NIKOPEDIA
of the data in your RAW files

Some people say improvements over the last few
processing, others say years, and this will continue.
editing, and yet others say These improvements have been
post-processing, but whatever in two main areas: the number
terminology you use, this is of tools available, and the quality
essentially an activity that you of the edited image. However, a lot
carry out on RAW files. You can of what goes on during this
work on JPEGs and TIFFs in processing is concealed in various
apparently similar ways, often with ways, not because software
the same software tools, but only a companies are trying to hide
RAW file has the depth of anything, but because it keeps
information that enables different things more user-friendly. Given
interpretations of an image without the complexity of the computing
Q&A
any loss of image quality. involved this isn’t a bad idea, as

As we saw in issue 40’s article on most of us would rather get on with
RAW vs JPEG, the captured image taking pictures, but it does cause
– whether you shoot in RAW or JPEG some confusion. With so many
– has to undergo basic processing to sliders doing apparently similar
deliver a viewable image. The things, which ones should you use,
difference is that if you shoot in and in what order?
RAW, you can do all this processing, Probably the most widely used
and more, using software that’s RAW processing software is Adobe
more capable than the camera’s. Camera RAW, or ACR, which is used
Here we’ll show you the essential in both Lightroom and Photoshop,
techniques for getting the most out and this is the one we show here to
of a RAW image file. keep things simple, but that’s not to
GEAR CRAFT
say other options aren’t as good –

Creative control these days, the standard of
RAW-processing software RAW-processing software is
has benefited from lots of pretty high across the board.
A CLEAR RAW/JPEG DIFFERENCE EDITING RESULTS COMPARED

In this shot, taken at the door of an
old church in Cartagena, Colombia,
the exposure was set for the
exterior, but as shot the interior is
almost featureless, concealing the
important detail of the bell-ringer.

This can be pulled out in RAW
processing, but see what happens
when exactly the same processing
(namely local adjustments with a
Graduated Filer and three Radial
Filters), is applied to the JPEG: there
just isn’t the range of information in
the file to work on. ORIGINAL RAW JPEG

NIKOPEDIA
CAMERA SKILLS
ORDER, ORDER IN THE RAW
Behind the scenes –
DEVELOP A SYSTEM software that digs
into RAW files
Speed up your processing by consistently following a logical workflow ■ You might not realise it, but
RAW files you open in ACR have
There will never be universal generally design the windows on the already been processed. Most RAW
agreement on the best order assumption that users will start at processing software performs
to use tools when processing, not the top and work downward, but so-called demosaicing, corrects for
least because there are so many, there’s no compulsion. The way a green cast, and applies a gamma
NIKOPEDIA
but you won’t go far wrong with shown here starts off like that, curve before even showing you the
the following. Software engineers but backtracks once or twice. image on-screen. Some software,
however, enables you to see the
original incarnations of RAW files
before any of this hidden processing
2 13 10 is applied. RAWDigger is one.
4
7
5
Q&A
6
8
9
11
12
GEAR CRAFT
1 Under Lens Corrections, check bright areas for local adjustments (check the Shadow clipping warning
Color and lens Profile. Color is (Adjustment Brush, Radial Filter or at the top-left of the histogram).
always worth correcting, but treat Graduated Filter).
the lens profile according to your 10 Adjust over-light or over-dark
taste: distortion correction can 6 Brighten up Shadows if needed, areas with the Adjustment Brush,
sometimes lose some of the image but only by a little. As above, save Graduated Filter or Radial Filter.
near the corners, and it may any major adjustment of shadows
eliminate a look you want to retain. for local adjustments. 11 Adjust Clarity only if it’s
Similarly, vignetting is sometimes essential, and very cautiously. It
a good thing. 7 Raise Contrast to compensate tends to give a fake look.
for the flattening effect of steps 4
2 Use the Crop Tool and Straighten and 5 above. 12 Think twice before adjusting
Tool if necessary. Saturation or Vibrance. Vibrance

8 Check that the white point is prevents clipping by colour channel,
3 Tweak colour Tint and accurately set using the Whites so looks milder than Saturation.
Temperature as needed. slider (check the Highlight clipping
warning at the top-right of the 13 Examine the image at 100%
4 Check overall Exposure. histogram). magnification for any dust spots, A full frame and a detail as you
and use the Spot Removal tool if normally see them on opening a
5 Recover Highlights if they need 9 Check that the black point is needed. RAW file, and as they look before
it, but save any major adjustment of accurately set with the Blacks slider green cast correction, gamma
correction and demosaicing.
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NIKOPEDIA
CAMERA SKILLS
PERFECT RAW TERRITORY
PROCESSING A HIGH-CONTRAST SCENE

The benefits of shooting in RAW become apparent when processing images taken in very bright, direct sunlight
This is a high-contrast, with these, as you can see from
high-dynamic-range scene the version below, is that the result
where the lighting is divided sharply looks a bit flat. It lacks richness, and
between sunlight and shadow. The has that slightly non-photographic
exposure is efficient, meaning that look typical of local adjustments,
NIKOPEDIA
it’s as bright as it can be without which work on neighbouring pixels

clipping any highlights, so the RAW (See ‘Global vs local processing’ at
processor has the maximum amount the bottom of the page).
of information to work on. The other method, which is more
The highlights need to be laborious but to my mind superior, is
darkened, and the shadow areas to isolate the two zones – sunlit and
brightened, while maintaining shadow – using a local adjustment
In ACR, the shadow
contrast and enhancing the glow on brush. In this case, the brush was areas were selected
walls and pavements in the shadow used to lighten the shadows. The with a local
areas. There are two different ways overall controls were then used to adjustment brush, so
of handling this, and both need the process the sunlit area. In effect, that the two zones,
sunlit and shadow,
extra data stored in a RAW file. each zone was processed
could be processed
One way is to rely on the Highlight independently, and the extra data in independently using
and Shadow recovery sliders, which the 14-bit RAW file allowed a full, the Exposure slider
are very sophisticated. The problem rich result with glowing shadows.
Q&A
UNPROCESSED RAW FILE FLAT RESULT FROM SLIDERS PROCESSED FOR SUNLIGHT PROCESSED FOR SHADE THE FULL RANGE
GEAR CRAFT
Opened in ACR the high A typical one-step procedure To demonstrate only, this is Again for the purpose of Using the full dynamic range
dynamic range is evident, relies on using the Highlights how the image would look demonstration, processing the of the RAW file and a local
but the absence of clipping and Shadows sliders. It works to processed to favour the sunlit image to brighten the shadows selection, both the sunlit and
warnings shows that all the a point, but at the cost of a flat, area. The shadow detail is leaves the sunlit façade of the the shadow areas have been
information is there in the file. not-quite-photographic look. seriously compromised. cathedral badly over-exposed. processed to their full potential.
GLOBAL VS LOCAL PROCESSING

Localised processing is very powerful, but use it with care...
■ In film-based photography, most of the ways global operators and local operators. The first
of adjusting how a picture looks affect the entire applies its calculations across a whole image,
image. Digital processing, in contrast, enables us the second works only at a certain distance from
to adjust increasingly specific attributes. Many each pixel. This kind of processing can alter the
of these methods are distinctly non-traditional, image – by teasing out shadow detail, for example
in that they can adjust brightness and colour – to a degree that would just be impossible using
according to what neighbouring pixels look like. methods such as Curves. However, if used without
This is called tone mapping, a digital procedure care, the result will look less ‘photographic’. A detail of an image processed with Highlights and Shadows
for mapping one set of tones and colours to It pays to treat localised adjustments like recovery, for a local effect. The sliders are highly effective,
another. And there are two kinds of tone mapping: Highlights, Shadows and Clarity with caution. but traditionalists might not like the over-processed look

NIKOPEDIA
CAMERA SKILLS
DIFFERENT STROKES
MORE THAN ONE WAY TO SKIN A CAT...

How you process your images depends on your personal preference, and the overall look you’re trying to achieve
There’s more than one way to contrast so much that the end result
process an image, even if can have a ‘non-photographic’ feel.
you’re looking for the same result, And again, there’s inevitably some
but with subtle differences. How dispute around what ‘looks like’ a
subtle depends on your judgment. photograph and what ‘looks like’
NIKOPEDIA
One operation that’s much in reality – a shifting quicksand of
demand is the twin adjustment of an idea if ever there was one!
Highlights and Shadows to bring out Next up, an apparently similar
more detail. Even this is disputed, tool is available in the Tone Curve
with some believing that too much window: the Parametric Curve.
detail tends to be teased out Despite its off-putting name, this is
nowadays simply because it very simple in use. The tonal range is
can be (and yes, I think that, too). split into four – Highlights, Lights,
In this architectural interior (of an Darks and Shadows – and by
old colonial house in Singapore) shot selecting these one at a time, you
without any added lighting, the area can adjust the Curve smoothly to
behind the stairs is very bright, as it’s control each one. Despite being
bathed in tropical sunlight. At the similar to the Highlights and Here’s the image as shot: the top of the The Highlights and Shadows sliders use
same time the top of the stairs fades Shadows sliders that we just used, stairs is very dark, losing detail, while local tone mapping, and are effective,
the area through the door is over-bright but at the cost of diluting the contrast
into darkness. It would be good to however, the effect is not quite the
bring more out of each area, and same, and the bright sunlit area
ACR offers three ways to do this. beyond the stairs is pale and
Q&A
In the first, using just the Basic lacking in contrast.
window, the Highlights and Shadows Last but not least is the more
sliders each work on a restricted tedious, but ultimately more
range of tones, lowering or raising successful, method of selecting
the brightness according to which specific areas and then changing
way you drag the slider. Also, their Exposure and Contrast – the
significantly, they can recover digital equivalent of dodging and
apparently lost detail – the burning a negative in a darkroom.
Highlights slider, for example, can Using the Radial Filter, which can
use information in one or two of the now be added to or erased with a
three colour channels (red, green, brush, a total of nine local areas
blue) to ‘reconstruct’ the lost detail. were independently adjusted. This
GEAR CRAFT
Here, used at -100 and +50 involved more work, but gave much
respectively, they do a good job. more control. The differences are
However (there’s always a however obvious when the shots are seen Using the Tone Curve achieves a Working individually on nine local areas
in processing!), if the sliders are used side by side, though perhaps less ‘photographic’ result, but it can’t handle selected with the Radial Filter brings out
too aggressively, they tend to flatten so when they’re seen one at a time. local contrast in shadows and highlights the detail in shadows and highlights
ONE FORMAT TO FIT THEM ALL
DNG – A UNIVERSAL FILE FORMAT?

Adobe’s Digital Negative format goes some way to providing a file format that can be read by any RAW processing software
DNG (or Digital Negative) is Most camera manufacturers concern being that it may be RAW files has been simple to date
an Adobe initiative to design a design their own RAW file formats, impossible to read old RAW files in (dcraw does this).
‘universal’ RAW image file that can be and keep improving them to work the future. This is hardly likely, given In practice, DNG polarises opinion,
opened in any RAW software. Using best with their cameras, so there that first, once a RAW file format has but the choice between it and RAW
Adobe software like Photoshop or is no common standard. been opened there is no reason why (in our case .NEF) hinges on workflow
Lightroom, you can save a RAW file This is one of the problems that this ability should ever be lost; and rather than quality, where there is no
as a DNG and retain all the raw data. DNG is designed to solve, the second, that reverse engineering all difference whatsoever.
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NIKOPEDIA
CAMERA SKILLS
THE EXPOSURE
NIKOPEDIA
TRIANGLE
Let’s take a closer look at the
‘holy trinity’ of photography
It’s not enough to know Because noise, which is the visual
that there is an exposure equivalent of audio hiss, has no
triangle; you have to make use of it redeeming qualities at all, and just
too. Three camera settings control degrades the image, the exposure
the brightness of the image you triangle is lopsided – there are good
capture (aperture, shutter speed reasons for increasing or decreasing
and ISO) and together they enable both aperture and shutter speed,
you to choose a combination to get but raising the ISO is almost always
Q&A
any particular exposure, hence the a last-resort option. This makes

term ‘exposure triangle’. choosing the balance between the
Two of the settings (aperture and settings interesting and, well, a skill.
shutter speed) control how much
light enters the camera to strike Pick your priorities
the sensor while the third, the Using the exposure triangle means
ISO setting, amplifies the signal. knowing clearly what your priorities
Nikon’s 16-megapixel full-frame are for any given shot. Apart from
CMOS sensors are arguably the controlling the light, aperture and
world’s top performers, offering a shutter speed each do another job
maximum ISO setting of 409,600 in for the image: aperture affects
the D4S, but most of the credit for depth of field, while shutter speed
this low-light performance goes affects motion blur, and you may
GEAR CRAFT
to the way in which the signal is want less or more of either in any
processed and the noise limited. specific shooting situation.
During a funeral in Yunnan, China, light levels in the main interior, lit only by a
doorway and window, were low. I set my ISO to 1600, relying on the D4’s low-noise
capability, and that left me a 1/125 sec shutter speed to freeze any movement. 1/125 SEC AT f/4, ISO1600
A FLEXIBLE TRIANGLE HOW APERTURE, SHUTTER SPEED AND ISO INTERACT

■ Aperture, shutter speed and
ISO are inextricably linked in the
exposure triangle. Raising one of
these three means that you’ll need

to lower one, or both, of the other
two to ensure the same exposure.
In these examples, up means more
exposure (a wider aperture, longer
exposure or higher ISO), while down
means less exposure (so a narrower
aperture, shorter exposure or lower Shutter speed, aperture and ISO are If you decrease the exposure time at a set If you lower the ISO at a set aperture,
ISO setting). inextricably linked, as shown here ISO, you have to increase the aperture you have to increase exposure time

NIKOPEDIA
CAMERA SKILLS
WHERE TO START
KEY
IT’S A QUESTION OF PRIORITIES SHUTTER
SPEED APERTURE ISO
Which of the settings you prioritise depends on what you’re trying to achieve

TWO PRIORITIES:
FAST SHUTTER
SPEED, BUT
ALSO LOW ISO
At this range,
someone doesn’t
NIKOPEDIA
need to be moving rapidly for a high
shutter speed to be required. Normal
movements travel quickly across the
frame – and the minimum shutter
speeds for freezing motion depend
on speed in the frame, not on actual
speed. I decided to use selective

MAIN PRIORITY: FAST SHUTTER SPEED focusing to make the subject stand
The chef in this teppanyaki restaurant wanted to show off his out, and the de-focused areas needed
juggling skills with a pepper grinder, but it was dusk, so there to be noise-free. An aperture of f/1.4
wasn’t much light. The show involved throwing the grinder up in gave me the blurring I wanted. I then
the air, so my priority was to freeze it hanging in mid-air. Using a had to strike a balance between
wide-angle zoom – a 12-24mm set to 19mm – meant that the keeping the ISO as low as possible,
grinder would cross the frame more slowly than if it took up more space at a longer while keeping the shutter speed as
focal length, but even so, the shutter speed needed to be 1/250 sec. The aperture was high as possible (to minimise motion
f/7.1, to ensure adequate depth of field, and even opening up to f/2.8 would not have blur). In the event, I set a shutter
done much to help, so ISO had to pay the price – ISO12800 on a D4. speed of 1/500 sec at ISO200.

MAIN PRIORITY: TWO PRIORITIES:
REASONABLE SMALL APERTURE,
Q&A
SHUTTER SPEED BUT ALSO A
Pre-dawn at a busy REASONABLE
fish market, working SHUTTER SPEED
with a wide-angle In this shot of a
lens (in this case, 24mm). This is the Chinese tea ceremony, I wanted to
most active time in a market like this, include both the musician playing the
and light levels are low enough for guqin and the tea being poured beyond.
there still to be street lighting in use. I chose an immersive wide-angle
Even though exposures for a shot like treatment which depends on
this can be kept darker than average in order to keep the pre-dawn feeling, the everything being sharp, and so set a
settings will still be challenged. The main subject is people interacting, so aperture fairly small aperture (f/11) for a depth of
can be wide open at f/2.8, provided that the focus is accurately on the faces. The field that extends from the nearest
main priority is to set a shutter speed that will stop most normal arm, body and face hand to the teapot. But the musician’s
movement, so about 1/100 sec. ISO5000, which on a D4 is not extreme, allowed this. hands were moving, and so needed a
moderately fast shutter speed, even
MAIN PRIORITY: though I timed the shot for the least
GEAR CRAFT
VERY SMALL amount of movement. The final
APERTURE settings were 1/80 sec at f/11 and
This is a ISO400. At ISO100 I’d have needed a
juxtaposition shutter speed of 1/20 sec, which would
shot, taken with a have been too slow.
moderate (80mm) telephoto lens,
and because it’s deliberately TWO PRIORITIES:
comparing traditional with new SMALL APERTURE
architecture, everything had to be AND THE LOWEST
sharp, from front to back, which ISO POSSIBLE
meant a very small aperture (f/18). It Interiors almost
was also important to keep the ISO always demand two
low, to capture as much of the fine things: total front-to-back sharpness
detail as possible, without (so a small aperture) and a low ISO
introducing any grain. that results in no noise. This second

Even allowing for the fact it was priority is all the more important
quite bright, at f/18 I knew I’d have to because first, most interiors often
set quite a slow shutter speed to let feature smooth, mid-toned surfaces,
in enough light for an accurate which reveal any noise; and second,
exposure – and because this was a they are often reproduced large in
street photography walkabout I books and magazines. This is just such
wasn’t carrying a tripod. In this case, an image: a wide-angle taken with a
a shutter speed of 1/80 sec was 12-24mm lens at 19mm. It makes something of the depth in the scene, featuring a
needed – just fast enough to shoot statue close to the camera. The only option was to set a slow shutter speed, so a
handheld (see Know your limits). tripod was essential. The settings were 4 secs at f/20 and ISO200.
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NIKOPEDIA
CAMERA SKILLS
QUICK THINKING
CAN
EXPOSURE TRIAGE FOR CRITICAL SITUATIONS
MODES Try to develop the ability to choose a setting to change in a split second – you’ll need it
HELP? This medical term, familiar
to hospital drama addicts,
settings. Also, when it’s a fast-
moving situation and you’re not in
sunlit landscape, then you have
more options – an f/stop here or
Here’s how the so-called means making a quick judgment on a control, which is surely the case there, or a faster or slower shutter
creative modes on your three-way priority, and it may not be with most interesting photography, speed, isn’t going to make much
Nikon help you prioritise… too fanciful to apply the term ‘triage’ you need to do this quickly. difference. However, when things
NIKOPEDIA
to exposure, because every shooting If there’s plenty of light, and you get critical, then one or two settings
P
PROGRAMMED AUTO situation demands that you have a large-scale subject where have to give way, and that’s when
The camera sets both
shutter speed and aperture prioritise one of the three exposure nothing much is moving, such as a you need sound judgment.
for optimal exposure, using
conservative rules for safe
handholding shutter speeds. Nikon
recommends its use when “there is
little time to adjust camera
settings”, but you can speed up the
time available by simply thinking
harder at the time of shooting.
S
SHUTTER-PRIORITY
You choose the shutter
speed, the camera sets the
aperture. This is useful when shutter
speed is your top priority and you’re
concentrating principally on that. As
with all exposure modes except for
Q&A
manual, you can override the

automated exposure if necessary
by using exposure compensation
to make the result brighter (plus
values) or darker (minus values).
If using exposure compensation in
shutter-priority mode, the camera
keeps the shutter speed constant
and varies the aperture to let in
more or less light.
A
APERTURE-PRIORITY
You choose the aperture,
the camera responds by
altering the shutter speed. Useful
when depth of field is your top
GEAR CRAFT
priority. A straw poll suggests that 1/80 SEC AT f/7.1, ISO1600

most professionals use either this
or manual mode (below). Again,
override with the exposure HALVING AND DOUBLING ONE CLICK HERE, ONE CLICK THERE
compensation button if needed.
■ The standard scales for both aperture (stops) and single click will let in less light, so you have to open
M
MANUAL
shutter speed (seconds or fractions of a second) are the aperture by a single click to let in enough light to
You set both shutter speed
and aperture, keeping a organised the way they are so that each step or click in compensate for this. This approach makes it easy to keep
close eye on the exposure level either case reduces or increases the amount of light by the same exposure while changing the motion-freezing
indicator (that little arrow with the same amount. So, increasing the shutter speed by a capability of the camera and the depth of field (below).
numbers either side). It demands
more thought, and so, unless you’re
thoroughly au fait with this way of
doing things, more time.
AUTO ISO
AUTO
ISO Not a mode per se, but an
additional control that
allows you to set an upper limit for
ISO that you’re happy with. Again, 2 SECS AT f/32, ISO100 1 SEC AT f/22, ISO100 0.5 SEC AT f/16, ISO100
this can and should vary according
to what’s in the frame and how large I wanted some water streaking for softness in this shot, but was not certain exactly how much, and how much depth of field
the picture will be displayed. around the vase was necessary. In manual mode, and with the camera on a tripod, I tried it at three different shutter speeds,
each time halving the exposure time, which also meant I had to double the aperture to compensate.

NIKOPEDIA
CAMERA SKILLS
APERTURE ESSENTIALS
KNOW YOUR LIMITS
A FEELING FOR f-STOPS The exposure settings you use will also be
dictated by what you’re happy to accept in
terms of blur, noise and so on…
You don’t have to understand what they mean to know how they’ll affect shots
If you’re just starting out with an to f/2.8 would require a shutter speed of 1/30 ■ If you do this for a living, from the camera and
you soon learn what results framed with a standard
SLR, the numbers may not seem too sec for the same exposure, so much faster. you can accept in terms of lens so that they fill a third
intuitive, going from f/2.8 to f/4 to f/5.6 and so For the mathematically inclined, this motion blur, depth of field or half of the frame. How
on, but you soon get used to them. The lower sequence is a geometric progression, rounded and noise – and what you much needs to be sharply
the number, the wider the aperture and the out to make it easier to remember, based on can’t. Even if you don’t, it’s focused and how much can
NIKOPEDIA
worth deciding what you’re be blurred? An aperture of
more light that reaches the sensor. powers of the square root of 2. For everyone able to live with for the f/5.6 is a usually a good
The most typical maximum aperture is f/2.8, else, it’s a matter of getting familiar with three settings. But (and this starting point.
but faster lenses can reach f/2, f/1.4 and even certain f-stops delivering a certain degree of is where auto-exposure and
f/1.2, usually for a hefty price premium. They’re depth of field. You’ll find that, soon enough, auto-ISO fail to deliver), HOW MUCH DEPTH
there are variables, even FROM THE SMALLEST
called faster because they enable a faster f/5.6 comes to mean just enough depth of field
within each setting. Here APERTURE?
shutter speed to be set at the maximum for an average subject, f/11 is comfortably are five crucial questions, When you’re aiming for
aperture: so a lens with a maximum aperture deep, and f/16 reliably deep. These are the answers to which it’s deep focus, it’s more usual
of f/5.6 might struggle in low light, because rough-and-ready judgments, as it depends worth working out before to think of it the other way
even wide open, at f/5.6, it might require a on whether you’re using a wide, standard or you go out shooting: round. Knowing that you
want full depth of field, it’s
shutter speed of, say, 1/8 sec for a correct telephoto lens, but as there’s usually little usual practice to start with
HOW SLOW CAN YOU
exposure… in other words, too slow to shoot time to calculate these things, having this SHOOT HANDHELD? your lens stopped down, to
handheld in most situations. An f/2.8 lens set kind of basic feeling for the numbers is useful. It depends on how steady f/16 or f/22, and then find
you are, which is something the camera position that
you can work on to improve, allows front-to-back
but also on the focal length sharpness. Knowing
of the lens. It’s easier to hold roughly what this will be
steady with a wide-angle from experience saves time.
lens than with a telephoto,
Q&A
because the telephoto HOW MUCH NOISE CAN
magnifies everything, YOU TOLERATE?
including your twitches. Even here there are
1/30 sec with a standard variables, because noise is
focal length of 50mm at its most visible on very
should be reliably sharp. smooth mid- and mid-to-
In addition, Nikon’s vibration dark-toned areas. If it’s a
reduction system in some detailed scene, you will be
lenses will give you perhaps able to tolerate more noise
a two-step improvement, so than if you’re shooting a
that’d be 1/8 sec in the case clear sky, smooth skin or
of a 50mm lens – but of a blank wall. And if you
course that will only display the image small,
address camera shake, that too will hide the noise.
not subject movement.
GEAR CRAFT
WHAT SHUTTER SPEED
FREEZES WHAT
MOVEMENT?
There are so many
1/60 SEC AT f/5.6, ISO4600 variables here, from how
fast something is actually
In this image of a woman frying corn arepas, I knew in advance exactly the kind of shot I wanted: wide angle, moving to how fast it’s
close enough to see her hands moving as she cracked an egg into the arepa, and with her hands in sharp moving across the frame
focus. My judgment said the aperture needed to be medium-open, which by my definition is around f/5.6. (this depends on the focal
The background could go soft as long as it was still clear what was going on; 1/60 sec was just fast enough length, its distance from
to freeze the slower parts of her hand movement, as at this moment. you, and on whether it is
moving towards you or
crossing in front of you).
ISO MYTHS AND REALITY STRONGER SIGNALS You need to get used to 1/30 SEC AT f/2, ISO1250
thinking in terms of speed

■ When we talk about raising or lowering the ISO, you’d be forgiven for across the frame. I wanted to use selective
thinking that the sensitivity is being changed. It isn’t. The sensor has a focusing here. An aperture
fixed sensitivity, meaning a fixed response to the light striking it, and WHAT APERTURE GIVES of f/2 ensured sharp focus
with Nikon constantly improving sensor performance, it’s as good as you JUST-REASONABLE on the statue. I knew from
DEPTH OF FIELD? experience that at 1/30
can get. What happens when you raise the ISO is that the signal from the Take a regular subject in a sec I’m safe from camera
sensor is amplified in the camera. That, simply, is why increasing the regular crop, such as two shake. That left just the
ISO creates a noisier image, because amplifying the signal also means people talking a few metres ISO for adjustment.
amplifying the noise from the camera electronics.
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NIKOPEDIA
CAMERA SKILLS
Different sorts of light create different colour

casts, so even without being able to see the sun,
you can tell from the warm light and blue shadows
visible on the white walls of the temple that this
photograph was shot close to sunset
NIKOPEDIA
WHITE BALANCE
Not sure about white balance and just why it matters so
much to your photographs? Our expert-at-large explains all
So what’s the fuss? While of course it’s might look. (Setting an incorrect white balance in digital techniques use white as the reference
good to know how different light sources camera, by contrast, might convince you that the point, but will drag other colours along with it
Q&A
cast a colour over a scene, and how to get that the scene you’re shooting is cold and uninviting, when when they make the adjustment. Put another way,
way you want it, it is not usually in the end that in fact it might be warm and welcoming). if your whites are white you won’t have a cast on
important – if you shoot RAW files, it can all be other colours, as casts affect the whole image.
tweaked or corrected later on, so it’s definitely not Getting it white In the pre-digital days you wouldn’t find out
a cause for anguish as you shoot. For this reason, White balance is a more precise way of saying whether images had a colour cast until long after
we will spend a little more time than usual here colour balance, but they both refer to the overall you’d left your location, so that focused
with the processing choices. That said, it’s cast of colour across an image, or its neutral lack everyone’s attention on getting it ‘right’. Digital
important to know how white balance works, and of colour (in other words, whites actually being should have made life easier, since you can check
you might as well get it right in-camera, as doing white, rather than slightly cool or warm). White is instantly, but it seems to have made people even
so will mean less time sat in front of a computer, a measurable quantity, and there are a number of more anxious about what ‘right’ is. I blame the
which can only be a good thing. Plus, it has the ways of getting what should be white to be truly camera manufacturers and their obsession with
advantage of giving you a sneak preview – by way white, starting with the camera menu. Whether providing endless features in the camera’s menu,
of the playback option – of how your final image you do it in-camera or during processing, the and software engineers fixated on the numbers!
GEAR CRAFT
WHY COLOUR TEMPERATURE IS OF LIMITED USE ONE SCALE DOESN’T FIT ALL
■ Colour temperature always relevance for photography hinges on
pops up in any discussion of colour the fact that the midday sun in high
balance and photography, but in fact to mid-latitudes is judged by our
it’s a special case and only a part of eyes to give normal, white light (no
the story. Technically, it’s the surprise there, as human beings
temperature at which a theoretical evolved under this light). However,
substance has to be heated to glow there is a lot of lighting that doesn’t
at a particular colour (think ‘red-hot’ work in this way, and even light from
and ‘white-hot’) and goes from red a blue sky isn’t exactly on this scale.
through orange, straw colour and Nevertheless, for historical reasons,
white to blue – the higher the colour temperature, on a scale that
temperature, the bluer the colour. starts at -273°C, or 0°Kelvin, is still
Strictly speaking, colour used, but it also has to be modified
temperature applies only to by another scale, from magenta to
incandescent light (light given green (see the two sliders in Adobe
off by things burning, like a candle, Camera Raw). It’s just not something
tungsten bulb or the sun) and its to get hung up about. SHADE PRESET SUNLIGHT PRESET ‘CORRECT’ WB

NIKOPEDIA
CAMERA SKILLS
A QUESTION OF TASTE
COLOUR ACCURACY
OR PERSONAL
PREFERENCE?
Why an accurate white balance setting isn’t always the
best one to use…
NIKOPEDIA
There are two ways of sunlight, and that’s reason
adjusting the white enough for wanting to preserve
balance in a photograph. One is that colour cast rather than
for accuracy – getting it right, if neutralise it. There’s a further
you like – and the other is for the sub-division of ‘preferred’
way you prefer an image to look, lighting, into what I would call
even if that means whites aren’t attractive and striking. Aiming to
pure white. These are very be attractive more or less speaks
different concepts, so you first for itself, in that you want to
have to decide whether accuracy please the crowds. This becomes
(zero colour cast) is more important when you’re dealing
important to you, or whether with so-called memory colours
you’re going to follow your eye (see page 115). But you may
and taste. Accuracy means using instead want to play with the
some form of measurement, colour cast, for an effect that is
either in the camera or later, visually striking, even garish, to
Q&A
while the argument for convey a different kind of mood,
eyeballing, as it’s known, is that such as the slightly sickly
the colour in most images will be greenish cast of industrial
judged by an audience at a glance. fluorescent lighting, or the cool,
The classic case is golden light moody cast of dawn light. For
a little after sunrise or before some, colour exists to be used If you ‘correct’ your whites in
sunset. Many of us shoot at that rather than just to be corralled an evening shot like this,
you’ll lose the wonderful
special time of day because of the into an expected space. So feel warmth you’d waited for
warm feel from the golden cast of free to be creative.
In fairly neutral light, these

IN-CAMERA are the colour settings
GEAR CRAFT
available from a Nikon D4.
SETTINGS They’re made up of colour
temperature, modulated by
a red-green scale. All can
Spoiler alert: you can be accessed in Photoshop’s
safely ignore all of this! AUTO: TEMP 4650 TINT +30 DAYLIGHT: TEMP 5550 TINT +10 CLOUDY: TEMP 6550 TINT +10 Camera Raw interface.
■ Nikon’s camera menus offer several
ways to get the colour balance the way
you want it before you shoot.
Auto white balance works it out from
what the camera can read from the
scene. If there’s one overall source of
light and if there’s what the camera
takes to be a prominent white or neutral
SHADE: TEMP 7550 TINT +10 TUNGSTEN: TEMP 2850 TINT 0 FLUORESCENT: TEMP 3800 TINT +21 FLASH: TEMP 5500 TINT 0
area in view, this does a pretty good job.
I shoot RAW, and I use this regularly. are typically greenish in their effect on the Kelvin colour temperature and lighting, such as domestic tungsten
Choosing from one of the presets the image. Direct Sunlight sets the tweaking it with a magenta-green scale. lamps plus weak evening daylight, this
is useful for the most common lighting balance to that of the midday sun, PRE is the Preset Manual ‘white card’ usually gets the mix about right, as long
situations. Incandescent is for standard around 5000° Kelvin. Flash adds a touch setting, in which you aim the camera at as the lighting doesn’t change.
bulb, which are less common in the face of warmth to this, Cloudy and Shade a a sheet of white card and press the You can use Live View to check colour
of the invasion of compact fluorescent bit more still. shutter release. The camera then locks balance when using any of these options,
lamps. Fluorescent assumes the kind of The K Choose Color Temp. setting the colour balance for subsequent shots but see ‘Doing it in RAW processing’ to
lamps in supermarkets and offices that lets you calculate it yourself by selecting to keep that as neutral. If there’s mixed learn why none of it matters!
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NIKOPEDIA
CAMERA SKILLS
LEAVE IT ’TIL LATER
CORRECT COLOUR IN RAW PROCESSING

One of the beauties of shooting in RAW is that it enables you to alter white balance at will long after you’ve taken the shot
If you shoot RAW rather than (or equivalent software) you have
JPEG, setting the white the option of using the white
balance from the camera’s menu balance pipette from the toolbar,
is largely irrelevant. Like other or tweaking the Temperature and
settings it’s stored separately from Colour Balance sliders in the main
NIKOPEDIA
the RAW data (see issue 40). It’s adjustment panel – or both.
generally better to fine-tune white If you’re after accuracy and a
balance during RAW processing. neutral colour cast, the basic
You do have to choose some kind approach is to find tones in the
of white balance when you shoot, scene that ought to be grey and click
and I tend to use Auto White Balance on them with the white balance tool.
as it’s a reasonable starting point. You may need to click around, as
Others might prefer the Direct there can be different casts of grey
Sunlight setting, so that they can in a scene, and the final decision will
see at a glance, for example, how come down to your judgment.
golden an afternoon image looks Guaranteed accuracy calls for using
(see ‘Why colour temperature has a calibrated colour target, and that’s
limited use’). In any case, the choice quite a different process (see ‘When This photo was taken using my Nikon’s Auto white balance setting, but as I shoot in
is yours. Once in Adobe Camera Raw total accuracy matters’). RAW I could easily change the white balance in post processing if I wanted to
BE SELECTIVE
Q&A
OR JUST
MAKE LOCAL ADJUSTMENTS ENJOY THE
IN ADOBE CAMERA RAW EFFECT…
Photography is an art, so
Mixed lighting spoiling a you don’t have to strive
for objective accuracy
shot? In Adobe Camera Raw,
■ The problem with the quest for
you can correct multiple accuracy is that it can deliver boring
colour casts with ease… results for those who fancy
themselves as colourists. Mixed
GEAR CRAFT
Indoors and after sunset, lighting is not a cardinal sin, and

you’re much more likely to be there are many, many situations
dealing with lighting from different where you might actually welcome
the diversity of colour from different
sources, each with a different colour
lamps within the scene. In the 21st
cast. This is so-called mixed lighting, century lighting is more varied than
and as camera sensors get better, at any other time in history, as our
with increased sensitivity that night-times and interiors are
allows us to shoot in lower and lower enlivened by inventive lighting. If you
light, this becomes more and more have a feel for colour, you may well
want to shoot in a way that explores
common in photography. the patterns and blending of
So, what to do about a scene with different hues. If that’s the case, feel
In this shot the twilight’s natural blue cast contrasts with the artificial light
more than one colour cast? You can illuminating the trees and spilling out from the building – obviously mixed lighting free to step back from the urge to
simply go with the flow and accept neutralise your shots!

them (see ‘Or just enjoy the effect’), simply adjusting the two colour Replace Color under Image>
or you can adjust the balance for the sliders and not much else. Adjustments is useful, as is Color
dominant light source, and then set The other method, which you Range under Image>Select. Each of
to work on the remaining cast. might want to use if you have more these automatically selects a colour
One way to do this is with local complex adjustments to make, is to range that you define, and from
adjustment tools in the RAW finish with the RAW processing and there you can use such adjustment
processing software, such as the open the image in Photoshop, and sliders such as Hue, Saturation and
brush, radial filter or grad filter, then use one of the selection tools. Lightness to remove the cast.

NIKOPEDIA
CAMERA SKILLS
FAMILIAR FACES
COLOUR TARGETS:
MEMORY COLOURS WHY THEY COST
Some colours are more important to get right than others Colour is more complex than it seems,
so you’ll pay to get them totally accurate
Certain colours are either
■ Setting the white in a scene to neutral works for most
familiar to us because we purposes, but it’s still a rough-and-ready approach, with the
see them so often, like the colour of software simply ‘dragging’ other colours and tones in the
grass, or are important for cultural same general direction of your adjustment. Nailing all the
and psychological reasons, like skin colours means having a reference for them, hence the
NIKOPEDIA
Gretag-Macbeth ColorChecker, best-known in its 24-colour
tones. Most of us are so attuned to
patch form, which will set you back around £65 ($69).
what they ought to look like that we There are other targets available, but this is the industry
are highly sensitive to colours that standard, for two reasons: first, the matt squares of colour
are ‘off’. Skin tones – and there are are specially prepared so that they reflect the same colour
many subtle variations in even one in all visible parts of the spectrum; and second, because the
precise specifications of each colour are known throughout
face or one hand – probably top the the graphics and printing industries. The top row contains
list of what are called memory memory colours that include skin tones, blue sky, and
colours, and we don’t need a foliage, the second
spectrometer to see if they look medium-saturated
colours, the third the
right in a photograph, or in some way
three primaries and
‘wrong’. When you judge colour secondaries, and the
balance in, say, RAW processing, bottom row a grey scale
these are the colours to pay from white to black. Even
attention to, and none of them are more expensive is the
ColorChecker SG with
highly saturated. This is why they If skin tones come out with 140 patches (£240, $260).
occupy pride of place on the top a magenta or green cast,
viewers will feel the photo When exact colours are crucial, this reference chart will
row of the Gretag-Macbeth
Q&A
is ‘wrong’ somehow enable you to get all the colours in an image spot-on
ColorChecker target (see right).
TARGETED CORRECTIONS
scene the way you’re going to shoot
WHEN it. It then needs software for the
next stage: Adobe, for example, has
TOTAL provided a program called DNG

Profile Editor, for Windows and Mac,
and it’s free and downloadable from
ACCURACY www.adobe.com. Use the chart as
GEAR CRAFT
follows – and remember, the profile
MATTERS you create is good for only that

scene and its lighting, nothing else:
01 Photograph it large in the frame,
Sometimes, accuracy is more face-on, and at an average exposure
important than going with setting. Ideally, the white patch
personal preference should register around 245 on the
0-255 Levels scale, and the black
When getting all of the patch around 50.
If you’re photographing, say, clothing for
colours exactly right is the 02 Open the image in your RAW a catalogue, your colour reproduction
most important thing, such as if processor, do nothing to it, and has to be perfect or you’ll have very
you’re photographing a painting or save it as a DNG file. unhappy customers returning goods
doing a commercial shoot where the 03 Open DNG Profile Editor.

product colours have to be spot-on, 04 Click on ‘Chart’, and follow the balanced depending on the lighting.
the way to go is to include a set of instructions as below. 07 Click the Create Color Table
known colours in the shot – or 05 Open the image you just shot, button to create the colour profile.
rather, in one of the shots. The dragging and centering the four 08 Now export the profile (from the
Gretag-Macbeth ColorChecker is the colour circles on the four corners File menu).
obvious choice: you prop it up or have of the chart you photographed. 09 When you open any of the RAW
someone hold it up to the camera 06 Choose either or both tungsten- images shot during that session in Dedicated profile software will
once you’ve got the lighting on the balanced lighting or daylight- ACR, choose that profile. guide you through the process
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CAMERA SKILLS
Page 118
Q&A
GEAR CRAFT
Page 127

CAMERA SKILLS
Q&A
Our resident expert answers your Nikon
Page 130 questions and solves your issues.
If nobody else can help, ask Chris…
NIKOPEDIA
Q&A
Page 133
Page 134
GEAR CRAFT
Page 145
www.ebook777.com
Q&A
CAMERA SKILLS
AFTER
Can you give me
some night sky
know-how?
Alan Lewis, Neath, Wales
Chris says… For shooting

the moon, you need the
longest lens you can afford.
Siân used a Sigma 50-
500mm telephoto for her
NIKOPEDIA
‘Shoot for the moon’ tutorial When is your f/2.8 macro lens not an f/2.8? The so-called
in N-Photo 25 (£1000/$1660) ‘bellows effect’ can make f-stops confusing for close-ups
or you could look at the
Sigma 150-500mm My Sigma 105mm macro changes
(£750/$1070) – telephoto
lenses with this kind of
aperture with focus distance. Is this the
magnification aren’t cheap. ‘bellows effect’?
The alternative would be to Steven Tweed, Ballymoney, Northern Ireland
BEFORE
use a 70-300mm zoom, but
you would have to crop your Chris says… It is, you’re quite right. Technically, the lens
Duncan Steward’s Kood ND filters gave a lovely slow shutter photos to make the moon fill aperture value is the size of the hole in the diaphragm
effect to this Icelandic waterfall, but they also added a less the frame. divided by its distance from the sensor. In normal
welcome blue shift that had to be corrected later If you’re photographing photography the lens travel is relatively small, but in macro
star fields or constellations, photography you’re moving the lens much further out from
Why did my Kood ND filters turn my your standard kit zoom
should be fine because you’ll
the camera body. The physical aperture size doesn’t
change, of course, but the f-number does (remember, it’s
long exposure shots blue?
Q&A
be photographing a wider the aperture size/distance ratio).

Duncan Steward, Frome, Somerset field of view. If you want to
photograph nebulae or other
Chris says… We see this quite a lot, and colour fidelity is one tiny, faint objects, you’ll Why does my D700’s
of the things you pay for with top-quality filter systems.
Duncan explains in his email that he chose Kood ND4 and
probably need to swap to an
astronomical telescope and
flash fire even when it’s
ND8 filters because they were much cheaper than the Lee camera adaptor – you’ll in Commander mode?
equivalents and fitted straight into his Cokin P series filter need the help of specialists Doug Morley, Canada
holder. As his photographs show, though, the two Kood filters here, I’m afraid!
used in combination produced a strong blue shift, and he had Chris says… Setting the built-in A Nikon’s built-in flash
to apply a White Balance correction in Adobe Camera Raw to flash to Commander mode does could cast shadows even
create a more natural-looking picture. not necessarily switch it off. Press when in Commander mode
– the £10/$15.SG-31R flash
This isn’t unique to Kood. N-Photo’s Technique Editor Rod right on the multi-selector to view filter is the answer
GEAR CRAFT
Lawton has some interesting landscape shots from North the Commander mode options, and
Devon where the blue sky has become an attractive and set the Built-in flash Mode to off, so the box displays ‘– –’. The
completely unrealistic violet colour, thanks to the Cokin ND flash will still fire ‘timing flashes’ which could create faint
grad he was using at the time. shadows behind your subject. Nikon recommends avoiding
You can get great lunar shots
One solution is to do as Duncan did and shoot RAW, so that with a long telephoto zoom, wide apertures and high ISOs to prevent this, but you can
you can correct any colour shifts later. Another is to save up but distant nebulae may need also get an infra-red filter attachment called the SG-31R
those pennies for a professional filter system. a different approach which attaches to the hotshoe and covers the built-in flash.
I picked up my new D610 this week, but I In the meantime, the version
of Nikon ViewNX2 that came
can’t open my RAW files in Lightroom with your D610 will be able to
Steven Hale, Wedmore open your RAW files. It doesn’t

have the sophisticated tools
Chris says… This is one of our version of Elements, you get in Lightroom, but can
more regular queries, Steven! Photoshop or Lightroom, you produce a JPEG or TIFF file you
Whenever Nikon releases a may need to upgrade to the can import into Lightroom.
new camera, it’s a little while latest version; otherwise, you The D610 can also convert
before Adobe releases an should be able to update the RAW files in-camera via the
update that can open its RAW RAW compatibility from within Retouch menu. The options are
files. If you’re using an older the software. basic but effective.

Q&A
CAMERA SKILLS
ANSWERS
IN A FLASH!
Have you done any
tutorials on video with a
Nikon SLR in N-Photo?
Why do my Daniel Dolpire, by email
monochrome shots Chris says… Siân did one in
NIKOPEDIA
come out in colour issue 16, and George Cairns
covered Nikon ViewNX 2’s
when I shoot in video tools in issue 17.
RAW? Can I use a Manfrotto
Steve Shaw, by email To use your old
How can I work with my D610 RAW version of Photoshop grip ball head with a Benro
with your new tripod?
Chris says… When you
shoot using the Monochrome
files without upgrading Photoshop CS5? Nikon’s RAW files,
get Lightroom 5!
Daisuke Koya, by email
David Kemish, by email
Picture Control, your Nikon Chris says… Yes. Most tripod
captures a RAW image heads attach to the tripod via a
Chris says… You could swap to Adobe’s latest version of Adobe Camera Raw built
which it then processes into 3/8in screw.
Photoshop CC subscription plan. It’s in, and currently costs £103/$149 as a
a black-and-white JPEG. If
cost-effective in the long run, and involves regular ‘perpetual’ licence. You can then
you shoot RAW instead, it
a lower initial outlay. Existing Photoshop set up Photoshop CS5 as its external
Is it right that on a DX
simply tags the image with
owners (CS3 and later) qualify to get CC editor, so you get the latest RAW support
Nikon a 35mm lens is
the Monochrome setting.
plus Lightroom 5 for £8.78/$9.99 per from Lightroom, and all the high-powered
equivalent to 50mm?
Nikon software will display Mark Collins, by email
month if they sign up before February 28. editing tools you’re used to from CS5.
it properly, but Adobe
Q&A
If you don’t like the idea of renting your You can download a free 30-day Chris says… It is – you multiply
Camera Raw will display the
software, Adobe Lightroom 5 has the Lightroom 5 trial from www.adobe.com. the actual focal length by 1.5.
full-colour RAW file.
HELP ME CHOOSE...
NIKON D3200 VS D5200

With newer models just announced, these two
DX-format cameras are now a lot cheaper to
buy – but which is the best bargain?
Key differences 04 Both cameras can shoot Nikon D3200 £320, $390 Nikon D5200 £510, $650
GEAR CRAFT
01 The 3200 has a fixed 1920x1080 movies at 30p, Launched 2012 24.2mp DX sensor Launched 2012 24.1mp DX sensor
three-inch 921,000-dot LCD 25p and 24p frame rates, but It might be an entry-level It’s unusual to get such a It has virtually the The D5200 has a slightly
D-SLR but the D3200’s high-resolution sensor in same size sensor as the different sensor design to
display, but the D5200 has a the D5200 adds high-speed sensor is a match for such a low-cost body. It’s D3200, but the D5200 is the D3200, but the results
flip-out variangle screen, 60i/50i interlaced modes. much more serious capable of excellent results. much more advanced in are much the same.
which can be extremely cameras, and a big step other ways.
up from the D3100’s.
useful with Live View. 05 The D3200 has a mono
microphone built in, but the
02 The D5200 has an Effects D5200’s is stereo. Both
mode and offers many more cameras can take external
customisation options; the stereo microphones.
D3200 is a much more basic
camera which offers the 06 Both cameras can shoot

essentials but little else. RAW files, but the D3200 is
restricted to 12-bit NEFs
03 The D3200 has a while the D5200 can shoot
perfectly adequate 11-point higher-quality 14-bit NEFs 4fps shooting ISO100-6400 5fps shooting ISO100-6400
autofocus module, but the too. It’s one of the less A good frame rate for Delivers the same ISO The continuous shooting While the base ISO range is
a beginner’s camera, range as the D5200, but speed is a little faster the same as the D3200’s,
D5200 has Nikon’s much obvious restrictions with the though not fast enough with only one Hi setting than the D3200’s, but it’s the D5200 has an extra Hi 2
more advanced 39-point AF D3000-series cameras and for high-speed action. (ISO12800). a small advantage. ISO25600 setting.
system built in. easily overlooked.
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Q&A
CAMERA SKILLS
Help! My D70s
has started giving
me a CHA error…
Albert Ters, via Facebook
Chris says… The manual

calls this a general memory
card error, which could
mean a problem accessing
the card, the camera being
You don’t always need complicated lighting to photograph
unable to create new folder,
NIKOPEDIA
jewellery – a window and a sheet of paper should do it!

or the card not being
formatted correctly.
Firstly, check whether you
Is there a simple way to shoot
get the same error with jewellery without a light tent?
other cards. If you don’t, it Mel Newberry, Bridgend
suggests a problem with
that particular card. Chris says… Light tents are designed to produce a soft, even
If the error happens with light without shadows, but there is a low-tech alternative.
other cards, it’s likely the Move a table as close to a well-lit but sunless window as
camera’s internal Compact you can. Cover the table with your chosen background, and
Flash reader is at fault – its position your object. The light from the window will be very
You can take three different exposures at the same time, but array of pins can become soft, but the opposite side of your subject will be in shadow.
you can also apply an exposure ‘offset’ as you do it bent or corroded. To fix this, make a home-made reflector. Use a large sheet
If you’re feeling brave, you of white paper or card (A3 paper might be large enough,
How do I use the AE bracketing could take a look inside your but A2 would be better) and fold it or bend it around the
function on my Nikon D5200? camera. This site has some shadowed side of your subject to bounce the light back.
Q&A
very detailed instructions:

Claire Storey, Harrow
http://bit.ly/D70srepair
Chris says… First, you need to open the ‘Bracketing/flash’
We can’t take any Can I use a Nikon fieldscope instead
option on the Custom Setting menu, then set the ‘Auto
responsibility for the
outcome, but some users
of a supertelephoto lens?
Bracketing set’ option to AE. Colin Inkster, New Zealand
report the problem has been
This simply tells the camera the type of bracketing you
fixed by doing this.
want, and you still have to enable the bracketing option when Chris says…You can: Nikon makes adaptors for this. Scopes
you shoot. You do this using the interactive display: select may be cheaper than big telephoto lenses, but are still
the ‘BKT’ option on the screen and choose the bracketing expensive – Nikon’s EDG 85 VR, for example, costs around
interval. I’d suggest AE1.0 to start with. £3200/$6000, and you’ll need the Nikon FSA-L2 adaptor too.
It’s a good idea to use the continuous shooting mode, too, Fieldscopes lack any sort of autofocus. This will likely
so that the camera takes all three shots in a sequence. If you restrict you to static subjects, and for accuracy you’ll
don’t, you can easily lose track of where you are in the probably need to use Live View to manually focus.
GEAR CRAFT
exposure sequence. Scopes are also made for the eye, not a flat
As a final touch, you can use the EV compensation button sensor. Our eyes can rove across a
Is your D70s showing a CHA
to apply an initial adjustment to the exposure, which is really error? It could be a problem frame and allow for softness
useful if you suspect your camera is going to under- or with the memory card, or colour fringes and curvature in
over-expose the scene. with the camera itself a way sensors can’t.
Should I buy a macro Chris says… I can see why you’re

considering extension rings, because they
lens for my D5100 or use offer a way of focusing much closer with a
my 50mm with extension non-macro lens. In this instance, though, I’d
recommend taking a look at the Nikon

rings? 40mm f/2.8G Micro lens. This is
Colin Howell, Marlborough one of the Nikon world’s most amazing
bargains, currently selling for around
£185/$276 – and you could spend this and
more on a set of Nikon extension rings. The
Nikon’s 40mm macro lens is a real
40mm f/2.8 is lighter and simpler to use, and
bargain at present, and gives really because it’s optimised for close-up work you
impressive results can expect slightly better picture quality.

Q&A
CAMERA SKILLS
ANSWERS
IN A FLASH!
Will movie mode wear
out my camera shutter?
You can use ‘tethering’
software like Nikon Camera
Alan Wright, Wigan
Control Pro 2 to control your Chris says… No, in movie
camera from your computer.
mode the physical shutter
NIKOPEDIA
stays open, and an ‘electronic’
Can I take a shot shutter exposes each frame.
with my D60 and
have it appear What does the ‘lock’ on
Your viewfinder’s
my 18-200mm lens do?
straight away on What does the diopter control diopter dial
compensates for Dave Johnson, W. Midlands
my computer? do on my D3200, and how do I reset it? human eyesight
variations Chris says… This locks the
Christos Panayides, Cyprus lens in the 18mm position for
Dyosephine, via Facebook
storage and transport.
Chris says… This tiny dial simply controls wearing their glasses. There is no correct,
Chris says… This sounds
the focus for the viewfinder eyepiece and or default, setting – you simply turn the
like ‘tethering’, where the
has no effect on the image you capture adjuster until the focus points and the
Can I use a 1.4x TC with
camera is connected to a
with the camera – it’s there to allow for information display underneath the screen
my Sigma 150-500mm?
computer by a cable and is Lance Harris, Canada
variations in individuals’ eyesight. are sharpest.
controlled by it. For your
Some people are long-sighted, some Don’t look at the subject you’re Chris says… Sigma’s 1.4x
D60, you’ll need Nikon’s
are short-sighted, and diopter adjustment photographing, however, because this will teleconverter works, but the
Camera Control Pro 2
Q&A
enables them to bring the viewfinder go in and out of focus as the lens focuses, maximum aperture will drop to
software, which costs
image into sharp focus even if they’re not and could be misleading. f/7.1-9.1 so AF will be a problem.
£136/$180.
HELP ME CHOOSE...
NIKON D5300 VS D7100 They’re both powerful and versatile

cameras, but in different ways, so
what are the pros and cons?
Key differences 04 Both cameras can shoot Nikon D5300 £679, $897 (with 18-55mm lens) Nikon D7100 £879, $1297 (with 18-105mm lens)
GEAR CRAFT
01 The D5300 has a flip-out professional quality 1920 x Launched 2013 24.2 megapixel Launched 2013 24.1 megapixel
vari-angle screen which 1080 movies and have Arriving soon after DX sensor The D7100 is Nikon’s DX sensor
the D7100, the D5300 Nikon dropped the optical top DX-format D-SLR, The D7100 matches the
makes it easier to shoot at external mic sockets, but matches its resolution in offering advanced D5300’s 24MP sensor with
low pass filter to produce the
low angles and in confined the D7100 has an audio-out a smaller, more novice- joint-sharpest APS-C format features aimed at no OLPF. This is state-of-
friendly body. sensor on the market. enthusiasts and experts. the-art for DX sensors.
spaces. The D7100’s screen for sound monitoring.
is fixed.
05 Both cameras use SD/
02 The D5300 has Wi-Fi SDHC/SDXC memory cards,
networking and GPS built in. but the D7100 has dual card
These are available on the slots for extra capacity,
D7100, but only via plug-in separating movies and stills
accessories, which will add or keeping a rolling backup.

to the cost.
06 The D5300 is smaller and
03 The D7100 is more lighter, weighing 530g
5fps shooting ISO 100-12800, 6fps shooting ISO 100-6400,
advanced in other areas. It compared to 765g for the The D5300’s 5fps expands to 25600 The D7100 can shoot expands to 25600
uses Nikon’s professional D7100, but the D7100 is continuous shooting is The D5300’s standard ISO continuously at 6fps at The D7100’s Expeed 3
very good for a camera range is 1EV higher than the full resolution, and 7fps processor means a lower
51-point autofocus module, weather and dust-resistant in the novice sector, but D7100’s, but the ‘expanded’ in its slightly reduced 1.3x native ISO range than the
while the D5300 uses the with magnesium-alloy top the D7100 is faster. limit is the same. crop mode. Expeed 4-equipped D5300..
mid-range 39-point system. and rear covers.
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Q&A
CAMERA SKILLS
What is
Distortion Control
Data?
Les Pitts, via email
Chris says… Distortion

control is one of the
lesser-known features in
newer Nikon digital SLRs. If
you’re using a supported
Nikon lens, the camera can
NIKOPEDIA
automatically correct any You can use older D-type lenses with a modern D-SLR like the
D90 – just set the aperture ring to its minimum value
barrel or pincushion
distortion using data
supplied by Nikon. It’s a bit
Why does my Nikkor 105mm macro
like the automatic lens lens only work when the aperture ring
corrections offered by
Adobe Camera Raw or DxO
is set to f/22?
John Reed, South Shields
Optics Pro, but it’s built into
the camera. The distortion
Chris says… This is perfectly normal. You’re using an older
is corrected as the image is
‘D-type’ lens, which features an aperture ring, whereas
processed – this means that
modern Nikon D-SLRs control the lens aperture from the
it’s applied to JPEGs
There are online labs for everything from printing your holiday body. These D-type lenses will work on a newer camera, but
snaps to giant exhibition-style enlargements
in-camera, but your RAW
only when the aperture ring is set to its minimum value. This
files will remain
is why your D90 is giving you an error reading when you move
How do you go about getting uncorrected, and you’ll need
to use distortion correction
it away from this setting. Simply leave it on f/22 and control
pictures printed online? the aperture using the camera.
Q&A
software on your computer

Phil Preston, Rugby to fix these. From time to
time, Nikon issues new Sigma 150-500mm vs P600 vs
Chris says… This is a really simple process and a very
cost-effective way of printing out your pictures. There are a
Distortion Control Data for
its D-SLRs, and this is
D5300 – which is the best
number of online photo labs to choose from, and one of the installed in the same way as telephoto option?
most popular is PhotoBox (www.photobox.co.uk). The firmware updates. Graham Breadmore, Berkshire
process is very simple: you upload your pictures over the
internet, pay for them online and then have your prints Chris says… Graham has a D5100 with a Nikon
delivered by mail. 55-300mm, and he’s looking for a lens with a longer reach.
PhotoBox and services like it are fine for everyday holiday The P600 is one of Nikon’s superzoom CoolPix cameras. It
snaps and occasional enlargements, but for more precise offers an effective focal range of 24-1440mm, but has a
control over colour and reproduction for important much smaller sensor than the D5100, so the quality would be
GEAR CRAFT
enlargements, we recommend Loxley Colour (www.loxley nowhere near as good. Upgrading to the D5300 would offer
colour.com) and WhiteWall (uk.whitewall.com). more megapixels and potential for cropping, but this would
The advantage of using an online lab is that you don’t have also make any camera shake more obvious. There is another
Nikon’s Distortion Control
to invest in a printer of your own and keep it topped up with feature can automatically alternative: a Nikon 1 body and FT-1 adaptor so that Graham
inks – and as a decent printer can cost hundreds of pounds or correct distortion in many could still use his 55-300mm lens. It would have an effective
dollars, it can therefore save you money. Nikon lenses focal range of 149-810mm, with a decent-sized sensor.
I can open my JPEGs as RAW files in Photoshop Elements, already been processed, you’re seeing the
colour rendition exactly as Nikon intended,
so why bother shooting in RAW at all? whereas the RAW files are being displayed with
John Harrington, Hilton Adobe’s idea of what they should look like, which is
slightly different.
Chris says… Elements can indeed open JPEGs ‘as won’t be able to recover lost highlight detail when It’s quite possible that you will prefer the look of
RAW files’ and does appear to offer the same tools you process your JPEGs, and you’ll also find that the JPEGs initially, but the RAW files will, in fact,
for working with them, but this is deceptive. The the White Balance sliders no longer give you contain additional data that makes it possible to
JPEGs have already been processed by the absolute values for Temperature and Tint as they get superior results in post-production, especially
camera, so you simply won’t have access do with RAW files, only relative values. when it comes to recovering detail in very dark or
to the same broad range of tones and colours as I think the reason you prefer the look of the light areas – but you may have to spend some time
the original RAW file contains. For example, you JPEGs to the RAW files is that because they’ve experimenting with the controls to achieve that.

Q&A
CAMERA SKILLS
ANSWERS
IN A FLASH!
Can you recommend an
underwater Nikon?
Gecelle, via Facebook
Where is the Chris says… Pros would use a
histogram on my Dynamic Area AF mode is
D-SLR in a special underwater
NIKOPEDIA
housing, but a cheaper option
D3200? best for moving subjects,
but your AF point doesn’t is the new Nikon 1 AW1.
Irv Berliner, via email have to be in the centre
of the frame
Chris says… To view the
Are ‘Normal’ and ‘Active’
two levels of VR?
histogram in Playback mode
press up or down on the
How do I get the right focus point for fast jets? Quintin Gardner, via email
Jason Pountney, via email
multi-selector. This cycles Chris says… Not quite. Normal
through the different image is for hand-holding, Active is if
information display modes. Chris says… It sounds like your problem is choice of autofocus point. Dynamic Area you’re being shaken about.
If the histogram doesn’t depth of field. Are you using your 70- AF mode is ideal for moving subjects, but
appear, it hasn’t been 200mm f/2.8 wide open? If so, try closing although most people use the centre AF
enabled yet, so press the the aperture down to f/5.6 or f/8, and if this point, this isn’t always the best choice –
Which is best: the Nikon
Menu, pick the Playback means the shutter speed is too low, this could be why you’re getting the centre
18-55mm VR or the
menu and scroll to Playback increase the ISO to compensate. of the aircraft sharp and not the nose or
18-70mm?
Mandy Thawe, Lyme Regis
display options. Press right If you’re happy with the depth of field the tail. Instead, think how you compose
on the multi-selector to and just want the camera to focus on the your shots and where the nose or cockpit Chris says… The 18-70mm lacks
Q&A
display the available modes. right thing, such as the nose or the cockpit, will be in the frame, and move the active VR but has a longer range and
The camera will remember you may need to experiment with your AF point over this spot instead. non-rotating front element.
the mode you last used.
HELP ME CHOOSE...
NIKON D3100 VS D5100 Both these cameras are near the end of
their lives and heavily discounted, but
which is the best bargain?
Key differences Nikon D3100 £280, $399 (with 18-55mm lens) Nikon D5100 £350, $430 (with 18-55mm lens)
GEAR CRAFT
01 The D3100’s three-inch 04 Both cameras can shoot
Launched 2010 14.2 megapixel DX Launched 2011 16.2 megapixel DX
LCD display has 230,000 full HD 1920 x 1080 movies, Nikon’s cheapest D-SLR is sensor The D5100 is now three sensor
dots and looks coarse but the D3100 only manages now nearly four years old, Nikon’s 14.2-megapixel DX years old, and has been The resolution advantage
and has been superseded sensor was soon replaced by superseded by the is small, but this is a newer
compared to the 921,000- a frame rate of 24fps at this by the D3200 and D3300. the superior 16.2-megapixel D5200 and D5300, but sensor with better colour
dot display on the D5100. resolution – the D5100 can sensor in the D5100. it’s still a fine camera. rendition and lower noise.
film at 30, 25 and 24fps.
02 The LCD display on the
D3100 is fixed, but the D5100 05 The D3100 has a Guide
has a vari-angle display mode to help novices
which can be flipped out and understand the basics, but
rotated. It’s very good for the D5100 has an Effects
low-angle and macro shots. mode for Miniature, Night

Vision, Selective Color
03 The customisation effects and more.
options on the D3100 are 3fps shooting ISO100-3200, 4fps shooting ISO100-6400,
limited. More experienced 06 Both cameras can shoot The D3100’s continuous
shooting speed was
expandable to
ISO12800
It’s still not fast by
current standards, but
expandable to
ISO25600
photographers will miss RAW files, but the D3100 is adequate at the time for The ISO range is limited by the D5100’s continuous The increased ISO range
features like exposure restricted to 12 bits of data, a beginner’s camera but today’s standards, but the mode is adequate for makes the D5100 more
now looks slow. D3100 can still deliver good relatively slow-paced effective in low light than
bracketing, which you do get while the D5100 can shoot results in poor light. action photography. the older, more basic D3100.
on the D5100. 14-bit RAW files.
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Q&A
CAMERA SKILLS
How can I shoot

with flash and use
a motordrive?
Henk Bodt, via email
Chris says… You tell me you

saw a professional do this at
a wedding, using a D4 on
continuous shooting while
still firing the flash.
The usual difficulty with
NIKOPEDIA
using flash with a Capture NX-D is replacing Capture NX2, but the new program
motordrive setting is that lacks the selective adjustment facilities of its predecessor
the flash does not recycle
Look underneath the flap that covers the USB connector on an fast enough. However, in this Should I buy Capture NX2 while it is
older Nikon, and you’ll see the socket for the mains power cable scenario you would just use
the flash to add a sparkle to
still on sale… or switch to Photoshop?
Can I get a DC coupler for powering my the eyes of the bride and
Hugh Davis, via email
Nikon D700 from the mains? groom, and not to add extra
light to the scene, so you can
Chris says… You were obviously on the verge of buying
Jack Torcello, London Capture NX2 only to read that Nikon is going to stop making it
use the flash on its lowest
(it is being replaced with Capture NX-D). Like Capture NX2,
power setting.
Chris says… Yes, you certainly can, and for once this is NX-D should give you a better straight-out-of-camera
I would leave the camera
something it’s easier to do with older cameras than with conversion of your RAW files than Photoshop, but it lacks the
settings as you would
newer models. With most current Nikon D-SLRs you need selective adjustment facilities. You could buy NX2 anyway,
normally have them, then
two separate accessories to run the camera from the mains but Nikon will no longer support it and if you bought a new
put the flashgun in manual
(rather than from your rechargeable battery). But older camera, the software would not be able to handle its RAW
mode, and reduce its power
models such as your D700 have a DC input socket on the side, files. At £130 ($180) this is an expensive risk. I’d switch!
output to its lowest value
Q&A
so there is no need for the additional dummy battery

(typically 1/128 power). The
connector that you would need with a D800 or D7000, say.
This socket is found on the left-hand side of the camera,
flash will be able to keep up
for short bursts. For longer
Why can’t I get my
underneath the flap and below the USB connector.
For the D700, you need to get hold of a Nikon EH-5, EH-5a,
bursts and faster recycling, D800 to record RAW
or EH-5B AC adaptor. (For readers with other models of
use a flashgun with a socket
that allows an external
and JPEGs onto the
Nikon, you can see all the adapter options at www.europe-
nikon.com/en_GB/products/category_pages/accessories/
power pack to be used, such two separate
category_accessories_dslr.page? ) The adapter converts the
as the Nikon SB-910.
memory cards?
AC mains supply into a DC current, and comes with a suitable Bryan Carr, Lancashire, UK
plug for your part of the world. (Beware of grey imports; if
you get a lead shipped from another region, you might not Chris says… Let me guess… You’ve set the Secondary slot
get the plug you need!) An adaptor should cost around £80 function in the Shooting Menu to ‘RAW primary, JPEG
GEAR CRAFT
($118), but you can find cheaper copies on eBay. secondary’ – and you still get RAW files recorded on both the
The AC adapter proves particularly useful for time-lapse SD card and the CompactFlash card!
sequences, such as star trail set-ups or for capturing a flower I think I have the solution to your gremlins… Irritatingly you
If you just want to add some
opening, where you want to leave the camera running for catchlights to your subjects’ also need to set the Image Quality in the Shooting Menu to
several hours without worrying about the battery power eyes, you can use your flash NEF + JPEG! You get three options on this screen depending
running out and missing the shots you need. on its lowest power setting how compressed you want the JPEGs to be.
I want to use depth of field others that do have a scale have markings
for 1m (for example), 2m and then go to
tables, but how do I set the infinity. That’s not much help if you’ve been
distance accurately on my told to set the focus to 7.999m!
I tend to estimate the distance of an

kit lens? object visually, then focus the lens on that
Kirsty Lemmon, Bournemouth point. With practice it’s not too hard to
estimate distances to a reasonable level
Chris says… That’s a good point. Some kit of accuracy.
lenses, like the Nikon 18-55mm f/3.5-5.6, And that’s the other point about depth of
don’t have a distance scale at all, while field tables. The defocus effect is subtle, so
The more you estimate how far away you don’t need to be as accurate with your
subjects are, the better you’ll get at it focus as the numbers suggest.

Q&A
CAMERA SKILLS
You don’t have to be
confined to the sync
speed of your camera
– put your flash in Auto
ANSWERS
FP mode instead
IN A FLASH!
Can I use a teleconverter
with my 55-300mm?
Steve George, via email
How do I set the Chris says… Sadly there are no
dioptric switch? compatible converters for your
NIKOPEDIA
What’s it for? 55-300mm f/4.5-5.6 zoom.
Chrissie Murphy,
Southampton, UK Why does my D5100
say that the HDR option is
Chris says… This is a way of not available?
adjusting the viewfinder to I want to replace my SB-600 flash with a budget model Thomas Powell, via email
suit your eyesight, so that
you can see the display
with high-speed sync Chris says… Your SLR is set to
David Green, Israel record NEFs – this option only
without needing glasses.
works if you use JPEGs.
The Diopter Correction is a
Chris says… The good news, in case you should be able to sync up to the maximum
dial to the side of the
hadn’t realised it, is that your Nikon shutter speed of your camera. When it is
viewfinder window, which
SB-600 already has high-speed flash set on your camera (look for Flash Sync
Are Really Right Stuff
you turn to adjust. Turn the
capability. Nikon calls this facility Auto FP, Speed in the Custom Settings menu), the
heads sold in the UK?
camera on, and try to get Mary Whitchurch, Fife
and it simply means you can use faster letters FP appear on the back of the flash.
the LED numbers at the
speeds than the usual 1/250 sec maximum If you’re still keen to replace your Chris says… No, but you can
bottom of the display as
sync speed of your D7000, which in turn SB-600, low-cost Auto FP-compatible get them shipped direct from
sharp as possible – it is the
Q&A
makes it possible to use wider apertures flashguns include the Nissin Di700 and the manufacturer – check
focusing screen you want to
without overexposing. In theory, you Yongnuo YN568EX. www.reallyrightstuff.com
focus on, not the subject.
HELP ME CHOOSE...
NIKON D800 VS D4S It’s the heavyweight professional championship…

What are the pros and cons of these FX D-SLRs?
Key differences Nikon D800 £1999, $2999 Nikon D4S £5199, $6499
GEAR CRAFT
01 The D4S is built for action, 04 A vertical grip with extra 36.3 megapixel FX 16.2 megapixel FX
Launched 2012 Launched 2014
and can fire off a sequence battery capacity is an Ground-breaking high- sensor Upgrade to Nikon’s sensor
at a phenomenal 11 frames optional extra with the D800 resolution full-frame The highest-resolution top-of-the-range This camera is not about
camera that is still at the sensor of any SLR in Nikon’s model, used widely by out-and-out resolution, it is
per second. The D800 has a (costing £285/$370) but is peak of its game after range – shared with the the world’s top sports all about shooting images
maximum continuous built in with the D4S. two years on the market special-edition D800E. photographers. as quickly as it can
shooting rate of 4fps.
05 Maximum expanded ISO
02 The D4S can shoot up to setting on the D4S sets a
176 RAW files before its new record, topping out at
buffer is full; the D800 pulls ISO409600. The D800 can
up after a 25-NEF sequence. be pushed up to ISO25600
03 The D800 has a ground- 06 The D4s can use the

breaking 36-megapixel ultra-compact WT-5
sensor, compared to a 16MP wireless transmitter to send
chip in the D4S. Both have pictures to a computer, or its
4fps shooting ISO50-25600 11fps shooting ISO50-409600
anti-aliasing filters. If you ultra-high-speed Ethernet Modest, as the size of the The native range is ISO100- Best-in-class The native range offers
want more sharpness, the port. The D800 uses the files produced are larger 6400, but this expands with performance, backed ISO100-25600, but expands
than those produced by High and Low options to up by an impressive to ISO409600: ultra-noisy,
D800’s twin (the D800E) clunkier, older WT-4 wireless but you can see in darkness!
other cameras. something far more useful. buffer memory.
dispenses with the filter. transmitter.
www.ebook777.com
Q&A
CAMERA SKILLS
What do the
letters G, ED, IF and
VR stand for?
Roy Marshall, Bristol, UK
Chris says… The

abbreviations on lenses
seem like gobbledygook, but
they are important for
helping you distinguish one
lens from the next. Here are
NIKOPEDIA
some of the most common: NEF 23.8MB JPEG 6.2MB

If you had to choose
between these two The extra information in RAW files is what enables you to
cameras, which AF-S An autofocus (AF) lens change the White Balance, exposure and colour settings later
would you choose? with a silent-wave motor
built into it. It ensures full My JPEGs are 6MB, but my NEFs are
I’m looking for my first D-SLR and don’t AF on all Nikon D-SLRs.
D Type of autofocus lens
24MB. Is this normal?
have much budget. Should I go for a D3100 introduced to relay distance Nancy Giambani, Athens, Greece
or a D3200? information from the lens to
the camera body to improve Chris says… Your results are completely normal! Going from
Annie Pettit, Michigan, USA exposure metering. The 23.8Mb to 6.2Mb is exactly what I would expect.
G-type lenses also do this. When you make a JPEG from a RAW file, two things happen:
Chris says… You ask if there is a huge difference in picture ED Extra-low Dispersion. 1) Extra unused data in the RAW file is discarded.
quality between these two cameras. As you are trading up Uses special glass to 2) The JPEG format uses sophisticated compression
from a Kodak point-and-shoot, you are going to notice a minimise colour fringing. techniques that can massively reduce the file size with
phenomenal jump in creative potential and in overall image G Nikon lens that lacks an negligible effect on image quality.
Q&A
quality whichever of the two you pick. Both are sensible first aperture ring (aperture is
SLR choices for a school student like you.
However, there are significant differences between these
adjusted by controls on the
camera itself).
My D5100 won’t fire
two. The spec of the sensor is the big one – the D3100 offers a IF internal focusing. The and displays ‘Error: Press
14-megapixel sensor, whereas the D3200 uses the
24-megapixel CMOS sensor found on most of Nikon’s recent
lens can focus without the
length of the lens changing.
shutter button’. Help!
SLRs. That is a big jump in detail. VR Vibration reduction. Lynne Tucker, Los Angeles, USA
The motordrive also gets a boost when you go a step up, System built into the lens
maxing out at four frames per second, rather than three designed to compensate for Chris says… You probably need to send
frames per second. And there is a small boost in maximum camera shake. your camera to an authorised repair
ISO sensitivity too, from ISO3200 to ISO6400. Perhaps the centre. The message generally indicates the
biggest difference is in the screen on the back, with the shutter mechanism is stuck. However, it is worth having a
resolution jumping fourfold from 230,000 dots to a very look for solutions online. We found this at Nikonites.com:
GEAR CRAFT
reasonable 921,000 dots. “I just had a similar problem on my D5100… The lower-right
The D3200 is slightly more expensive than the D3100 corner of the mirror was binding with the stop. We were able
– although the differential has got less as the D3100 starts to to GENTLY pry the corner of the mirror away from the stop
disappear from more stores. If you can afford to, I’d buy the (from the right) and now it is functioning flawlessly.”
D3200, though the D3100 is still a decent camera that’s Ever wondered what all those It sounds a risky DIY repair, but the solution had worked for
capable of taking excellent photographs. abbreviations mean? three different people with the problem.
My D700 uses CF cards but cards. However, SD cards have improved

in performance and capacity and
new Nikons don’t – what’s they’ve migrated up through the
the difference? Nikon range, squeezing out the CF

card. Now, only the D800 and the
Bob Black, London D4 have CF card slots, and both
cameras have a second slot –
Chris says… In terms of what they do, for SD cards (D800) or the
there’s no difference between Compact specialised XQD format
Flash and Secure Digital memory cards. (D4). It seems likely that
Physically, CF cards are larger and thicker. At the SD card is the
one time, all ‘serious’ cameras used CF format of the future.

Q&A
CAMERA SKILLS
Find exactly the right exposure length ANSWERS
with the help of a free phone app
IN A FLASH!
I want a camera strap
with a quick-release
What’s the mechanism
difference between Roy Hall, via email
Chris says… I’m a fan of
a polariser and the
NIKOPEDIA
OpTech’s neoprene straps.
Landscape Picture (http://optechusa.com)
Control?
Roy Marshall, Bristol, UK
Recommend a wedding
photography course!
Jimmy LK, London, UK
Chris says… Picture
Chris says… Many of the UK’s
Controls adjust things like
sharpening and contrast.
Is there an app for Android phones to best wedding photographers
The Landscape preset, calculate exposures with ND filters? trained at Aspire (www.aspire
among other things, reduces Gerald Gill, Bristol, UK photographytraining.co.uk).
contrast so there is less risk
of burnt-out skies. A Chris says… These apps are useful for app doesn’t have an Android version, but I
polariser reduces polarised trying to work out an exposure when using think I have tracked down something
How do I become an
light in a scene, and can a Lee Big Stopper or another high-density similar that will do the trick on your Nokia
N-Photo contributor?
Joaquim Pinho, Brighton, UK
intensify the blue colour neutral density filter which can be used to Lumia 625. It is called Exposed, and it is
of a sky. The effect is hard to lengthen the exposure by up to 10 stops. available through GooglePlay for Android Chris says… Send a low-res
Q&A
recreate in processing, so I use LongTime Exposure Calculator on devices. It’s also free, and looks like it is selection of your best shots to
should be used at the time my Apple iPhone. Unfortunately this free highly rated by those who have installed it. mail@nphotomag.com
of shooting.
HELP ME CHOOSE...
NIKON 50mm f/1.8D VS 50mm f/1.8G

Two of the cheapest lenses that Nikon make, and Nikon 50mm f/1.8D £109, $130 Nikon 50mm f/1.8G £149, $220
GEAR CRAFT
they seem so, so similar. So which do you choose?
Launched 2002 Weighs 155g Launched 2011 Weighs 185g
Update of the lens that Made in China with a plastic The AF-S ‘G’ version was Made in China with
Key differences came as standard with exterior and a metal mount. recently introduced to plastic exterior with a
every Nikon SLR back in Optical construction complement the faster, metal mount. Optical
01 The G lens has a built-in you want to use it on an old the days before zooms consists of six elements in costlier 50mm f/1.4G construction is seven
autofocus motor. It can be Nikon 35mm film SLR. ruled the world. five groups. lens in the Nikon range. elements in six groups.
used successfully with all
Nikon digital SLRs. 05 The G lens allows you to
focus the lens manually
02 The D lens has no built-in even if it is switched to AF
motor, so will not offer AF on mode; just turn the focus
the D40, D40x, D60, D3000 ring. With the D lens, you
series or D5000 series. need to switch AF off first.
03 Both lenses open up to 06 The D lens has a 52mm

f/1.8, but the D lens can close filter ring, while the G
down to f/22, while the G can version’s thread is 58mm. Seven-blade iris Depth of field scale Seven-blade iris AF-S
only offer f/16. The straight blades Clear distance scale with The aperture blades are Built-in motor ensures that
it offers full AF operation
07 The G lens comes with a cause geometric
heptagons in out-of-
depth of field markings for
f/11 and f/22. Lacks full-time
curved, creating more
roundly shaped out-of- with all Nikon D-SLRs,
04 The D lens has a manual lens hood; this is an optional focus highlights. manual focus override. focus highlights. including budget models.
aperture ring – essential if extra on the D (£22/$19).
www.ebook777.com
Q&A
CAMERA SKILLS
I’m off to
photograph my first
big gig with my
D300s and 16-
85mm. Any tips for
setting up?
Ian Lewer, via email
Chris says… We did a

rocktastic Apprentice on gig
NIKOPEDIA
photography with my mate Russell wants to replace his D300 for wildlife photography –
but which lightweight option will be most suitable?
Kevin Nixon), who I reckon is
Why does my
one of the best music
photographers currently
I’m tired of waiting for the D400!
D300S use up my working in the business, Should I get a D7100 or a V3?
back in N-Photo issue 18. Russell Mander, via email
memory cards The changing light can
quicker than confuse the camera, so he
recommends shooting with
Chris says… You say you want something fast and light,
which can shoot at seven frames per second, and uses your
my D80? manual exposure. He will existing lenses. The D7100 shoots at six frames per second
Paul Moss, then make sure that the and doesn’t have a very impressive buffer. The Nikon 1 V3 can
Wateringbury, UK shutter speed is 1/125 sec or shoot at 20 frames per second, and is much lighter than a
faster, and will use a wide D-SLR. However, to use your lenses with it you will need an
Chris says… It sounds like aperture – which with your FT-1 adaptor (£199/$240). Given the 2.7x crop factor of the V3,
this conundrum has been causing you sleepless nights. You zoom will mean using the I think it ticks all the boxes, though the new crop factor and
tell me that you set up both your Nikons for a shoot with lens wide open at all times. different controls may take a bit of getting used to.
Q&A
newly-formatted 8GB cards, but while the D80 offered you a You will also need to set
capacity of 620 NEF files, the D300S indicated space for 320. your ISO to a minimum of
The D80 has a 10.2-megapixel sensor, whereas the D300s 1600, and push it up further How can we see the LCD screen on our
has a 12.3-megapixel chip, so we would assume that the D80
will be able to fit more shots onto a card. But that does not
if the stage lighting is not
very bright. Don’t bother
J2 when the sun is behind us, without the
explain why the difference in capacity is so great. However, trying to use the flash! glare and reflections?
not all RAW files are the same. The D80 offers only one type: Due to the high contrast Roy Johnston, Johannesburg, South Africa
12-bit compressed NEFs. This is the most memory-efficient and bright highlights, you
setting. The more pro-level D300S gives you a choice will need to shoot in RAW. Chris says… One disadvantage of the J2 is that it does not
between 12-bit and 14-bit and between Uncompressed, have an optional or built-in viewfinder. You need to use the
Lossless Compressed, and Compressed options. LCD for composing your shots, and for all the camera
My guess is that you have your D300S set to the 14-bit settings. As you say, that’s not fun when shooting in sunlight.
Uncompressed option, which gives the best quality but the One solution is to buy a pop-up sunshield. These attach to
GEAR CRAFT
fewest shots per card. Switch to 12-bit Compressed in the the back of your camera using sticky pads, and have three
Shooting menu (look for Type, within the NEF (RAW) Recording flaps that spring up to create a viewing shade around the LCD
option), and you should get 540 shots on your 8MB card. screen. Several manufacturers make these. ( Enhance makes
Back in issue 18, we had a
Nikon SLR instruction manuals have a table at the back masterclass with pro music
a three-inch model that sells on Amazon for around £7/$13.)
telling you the rough capacity for every Image Quality photographer Kevin. His Alternatively, try the Victorian approach, and throw a dark
setting your camera offers. advice? Go for manual… piece of cloth over your head and the back of the camera!
My D90’s EV compensation adjustment

goes the wrong way!
ANSWERS IN A FLASH!
Steven Jackson, Neath

Quiet please! My D5200’s self timer is I’ve got one lens with an A-M switch and
Chris says… I know what you mean! When you turn the rear command
embarrassingly noisy… one with M/A-M. What’s the difference?
Kit Harris, Barnsley Andy Wright, Bishops Stortford
dial to the right, the EV compensation on the top LCD moves left.
Open the Custom Setting menu, then the Controls option. Scroll Chris says… Go to the Custom Setting menu and Chris says… An A-M switch lets you switch
down to f5 Customize command dials. If you set the Reverse find option d1 ‘Beep’. This has three settings for between manual and auto focus. The M/A-A lens
rotation setting to On, the EV compensation control will work the the sound of the self timer: High, Low, and the one offers manual override without you having to
right way. This reverses the dials for other operations, but that is you want, which is ‘Off’! slide the switch to the M position.
easier to get used to.

Q&A
CAMERA SKILLS
ANSWERS
IN A FLASH!
My friend has a Nikon.
Can I use his lenses on
How can I scan my D5200?
Jerry Murray, via email
old APS-format Chris says… If they’re for an SLR
films?
NIKOPEDIA
If you’re looking for made in the last 30 years, yes!
Peter Salmon, via email a top-quality standard
zoom lens, we’ve already
Chris says… Not many film found it for you! What sort of USB port is
scanners were compatible
on the D7100?
Simon West via Facebook
with APS film. The Konica
Minota DiMage Scan Dual IV,
Which should I buy for my D7100? Sigma 18-35mm f/1.8? Chris says… It is a USB 2.0
the Fujifilm AS-1 and the Tamron 24-70mm f/2.8? Or Sigma 24-105mm f/4? port that uses a non-standard
Canon Canoscan 4000 were David Mizzi, Malta UC-E6 plug.
three of the best, and you
may find one on eBay. Chris says… It depends on whether you more pro, I would give this a miss. The
You could take the film want a wider aperture or a longer range Sigma 24-105mm is only a tad faster than a
Are Lee filters
from its cartridge, cut the – and on what you want to shoot. kit lens, so I’d opt for the Tamron 24-70mm
compatible with my Cokin
negatives into sections, You say you would like to become a f/2.8. It is great on both DX and FX bodies,
Z-Pro filter holder?
Karl Fryer via email
then scan them on a flatbed commercial photographer. This makes the and has a pro-spec maximum aperture.
scanner, or rephotograph decision easier. The Sigma 18-35mm f/1.8 is Also, unlike Nikon’s more expensive Chris says… Yes. The standard
them using a D-SLR, macro an innovative zoom lens, but it is not alternative, it has built-in image Lee holder and the Cokin Z-Pro
Q&A
lens and a lightbox. There compatible with FX SLRs, and as you may stabilisation. It came out top in our round are designed for rectangular,
are also scanning firms that well want to get one of those if you go up of luxury kit lenses in N-Photo issue 26. 100mm-wide, filters.
can do the job for you.
HELP ME CHOOSE...
NIKON SB-910 VS SB-700 These are Nikon’s most serious Speedlights

– but what are the real differences between
these two flash hotshot accessories?
Key differences Nikon Speedlight SB-910 £339, $550 Nikon Speedlight SB-700 £229, $330
GEAR CRAFT
01 Both flashguns have cells, but only the SB-910
Launched 2011 GN 34 (m/ISO100) Launched 2010 GN 28 (m/ISO100)
heads that rotate through has a connector to allow it Daddy of the Speedlight It can recycle in 3.2 secs at One of our favourite It can recycle in 2.5 secs at
360° and tilt through 97°. to hook up to an external range. This is an update of full power. Manual power flashguns, offering most full power. Manual power
the SB-900, tweaked to options go down to 1/128 sec of the features of the SB- options go down to 1/128 sec
However, the SB-910 has a power pack. reduce overheating. (duration 1/38,500 sec). 910 in a smaller package. (duration 1/4000 sec)
greater autozoom range – 04 With more power and
17-200mm on an FX camera zoom range comes added
(11-135mm on DX). The bulk. The SB-910 weighs
motorised zoom head on the 510g with batteries,
SB-700 goes from 24-120mm compared to 450g for the
for FX (16-80mm on DX). SB-700. Dimensions are
02 The SB-910 offers a small 78x145x113mm for the 910,
but significant power boost and a sleeker 71x126x104mm

over its sibling. Measuring for the 700.
output with the zoom head 05 Only the SB-910 offers a
at 35mm in FX mode, the stroboscopic Repeating
Guide Number is 34 (metres Flash mode.
17-200mm zoom Advanced features 24-120mm zoom Advanced features
at ISO100), compared with 06 The SB-910 offers wireless head Auto FP; can be used as head Auto FP for high-speed
28 on the SB-700. control over three groups of Offers massive range and Master or Remote;offers Offers decent range sync; can be used as Master
can detect if you are using TTL-BL mode; and has a and can detect if you are or Remote; TTL-BL mode
03 Both flashguns are remote flashguns, the a DX or FX camera. strobe mode using a DX or FX camera. for balanced fill-flash.
usually powered by four AA SB-700 allows two groups.
www.ebook777.com
Q&A
CAMERA SKILLS
I’m travelling to
Vietnam. Should I
be worried about
the risk of taking
my D7000, and
about humidity?
Tom Ferry,
Ashbourne, England
NIKOPEDIA
Chris says… Your worries To get power into a Nikon SB-600 flashgun you have to use
are not unusual, Tom. If you the terminals in the battery chamber as the connectors
are in a big city or a remote
location there are dangers Do you know anyone who makes a
with carrying your camera
gear in public. As you say in
battery pack for an SB-600 Speedlight?
Mike Patten, via email
your email, you read about
gangs snatching cameras,
Chris says… The SB-600 has no external power connector,
and photographers getting
so a low-cost off-the-shelf option is not possible. There is one
mugged for their gear.
shop-bought option that I know of, and that is the Quantum
I would still always
QB1+ pack, which is designed to work with a number of
recommend taking your
Why couldn’t I get a decent exposure camera on a holiday like
hotshoe strobes that use either four or five AA batteries.
This costs $224, but you will also need an XK6 cable and BQB
when taking a shot of my wife from inside this. The beautiful locations
will inspire you to take some
extension to make it work with your Nikon flash, which will
a canal tunnel? add another $100 to the price. Visit www.qtm.com for details.
Q&A
of your best pictures ever. It

Roy Marshall, Bath, England is about taking a calculated
risk. Keep your gear to a
Chris says… The problem is the high contrast in this scene, I minimum, so you can put Should I use Active
would imagine. We have lots of these tunnels on the Kennet
and Avon Canal near our offices, and we know the situation
your camera in a bag that
doesn’t shout out that you
D-Lighting with my Nikon’s
well (as you can see from our photos!). The scene outside the are a photographer. Don’t go built-in HDR function?
tunnel is much brighter than the face inside the tunnel, and to places you don’t know on Mark Gniewyk, New Jersey, USA
the sensor does not have enough latitude to cope, whatever your own, particularly as the
the exposure. Spot metering can help ensure the face light gets low. And keep your Chris says… These two functions can be
appears bright enough in the scene – but the background wits about you! very similar in their effect. Active D-Lighting
would then be severely overexposed. HDR would be an Humidity is a problem, but boosts shadow detail and reduces highlight brightness in
answer, essentially merging two or more exposures together, it is a temporary one caused an image using in-camera post-processing. The HDR option
GEAR CRAFT
but this is not a flattering effect for a portrait. as cameras adjust to takes different exposures of the same scene so that they can
Using flash would be a more professional solution as the different temperature be combined, enabling you to retain information in both the
strobe can be set up to light the face in the foreground locations. This typically shadows and highlights.
evenly, without this affecting the background. You can use happens when leaving an The two functions can be used together. However, the
the shutter speed to control the exposure for the daylight air-conditioned hotel in the result is that you will get more noise in the shadow areas of
scene outdoors, and use the flash power to adjust the morning, say. My answer is your image than you usually want. So my recommendation
exposure of the foreground (and tweak aperture and ISO to leave a bit earlier, so your would be to turn off Active D-Lighting whenever you are
to ensure you get the shutter speed you actually need). camera can acclimatise! looking to get a decent HDR image.
Why won’t a faster memory Chris says… The camera’s maximum continuous The camera saves images to its high-speed internal
shooting speed is limited by the hardware rather memory buffer before writing them to the memory
card improve my D3200’s than the memory card speed, David. The mirror and card, and it’s like having a tap filling a sink and a
continuous shooting speed? shutter mechanism has to operate at very high
speeds during continuous shooting, and the faster
plug-hole letting the water out. The wider the
plug-hole, the longer it will take for the sink to
David Craddock, Taunton
the speeds, the more complex and expensive the fill up!
engineering needs to be. At four frames per second, When your camera’s buffer does fill up, you can’t
your D3200’s shutter mechanism is running flat out. use the camera until it’s cleared some space, and so
Where faster memory cards do make a difference the faster your memory card is, the quicker you’ll be
is in the number of shots you can take in a sequence. ready to start shooting again.

Q&A
CAMERA SKILLS
My Tiffen ND
ANSWERS
3.0 filter gives IN A FLASH!
disappointing Does the Nikon AF-S
results, with 50mm f/1.8G work on the
D3200?
greens turning out Ancash Goyal, Kolkata, India
an orangey-brown Chris says… Yes. Unlike
colour. Is this a the older 50mm f/1.8D,
NIKOPEDIA
this standard prime lens
common problem has a built-in motor so can
with filters? autofocus successfully
with bodies like the D3200,
Craig Dalgarno,
which don’t have an AF motor
Aberdeen, Scotland
This is definitely not the result you built in.
should get from an ND filter – it’s
Chris says… You are essentially working as an infrared filter! Can Lightroom 5 or
certainly getting strange Elements 12 recognise
results for an ND (neutral D7100 RAW files? My
density filter), Craig! This screw-in attachment is meant to simply cut down the amount of light reaching the camera copy of Elements 10
without affecting colour (hence the word ‘neutral’ in the name). The purpose is to enable you to take longer exposures doesn’t.
than usual, so that you can blur water in daylight, for instance, or use a wider aperture than the bright sunshine allows. Tim Wells, via email
The problem you are experiencing is caused by infrared contamination. Essentially, your filter is better at blocking
Chris says… Yes, support for
visible light than it is at blocking infrared light (which we can’t see, but some SLR sensors can record). So your neutral
the D7100 was introduced
density filter is effectively working as an infrared filter, creating the strange shifts in colours that you are experiencing,
with Adobe Camera Raw 7.4
which are particularly noticeable in the foliage. The filter can be used to create atmospheric infrared style images, or
(compatible with Elements 11
Q&A
for long-exposure monochromatic images, but it is not much good for the purpose you bought it for. I’d recommend
and later) and Lightroom 4.4.
taking your ND filter back to the retailer and trying to get a refund.
HELP ME CHOOSE...
55-300mm VS 70-300mm
Key differences
Two telephoto zooms that don’t cost the earth
and max out at 300mm. Which do you pick?
Nikon 55-300mm f/4.5-5.6G £269, $399 Nikon 70-300mm f/4.5-5.6G £429, $589
GEAR CRAFT
01 What’s the weight? like the D3100 that don’t have
If you are looking to travel light an AF motor in the body itself. £269, $399 58mm filter ring £429, $589 67mm filter ring
the 55-300mm is the obvious However, the 55-300mm has a The focal length makes Another reason that it A bit pricier than the The 70-300mm has a
it perfect for working partners well with the 55-300mm, but it will larger image circle to
solution as it weighs in at just more basic AF-S motor, whereas
alongside the 18-55mm popular 18-55mm – it work on both full-frame enable FX compatibility,
530g. The more substantial the 70-300mm features a more zoom that comes with takes the same-sized FX SLRs and crop-factor so it is wider and needs
70-300mm tips the scales at advanced ring-type motor, many budget Nikons. filter attachments. DX models. wider filters.
745g, nearly half as heavy again. which focuses faster and
more quietly.
02 FX or DX?
The 55-300mm will only work 04 Beating blur
properly with some Nikon Both lenses give an impressive
cameras, as this is a DX model effective maximum focal length
designed for crop-sensor bodies of 450mm when used on a DX
body, but this means holding
like the D3100, D5200, D300s

and D7000. The 70-300mm, on the lens steady can be a real
the other hand, will work on DX problem. Fortunately both of
models, and on larger-sensor these zooms offer a four-stop
FX (full-frame) models, like image stabilisation system.
Again the 70-300mm version is
f/4.5-5.6 Focuses to 1.4m f/4.5-5.6 Focuses to 1.5m
the D600 and D810. The maximum aperture Doesn’t let you get The same range as the Tamron and Sigma’s
the more sophisticated option, is f/4.5 at 55mm, and particularly close to 55-300mm, but is two 70-300mm lenses
03 Autofocusing with an Active mode for using closes down two-thirds your subject, but gives a stops slower at 200mm offer a maximum
Both lenses have built-in when you’re shooting from of a stop to f/5.6 at the respectable 0.22x and 300mm than a 70- magnification of 0.5x.
motors, so will autofocus fine unstable platforms (such 300mm setting. top magnification. 200mm or 300mm f/2.8. This manages just 0.25x.
when fitted to budget SLRs as a moving bus).
www.ebook777.com
Q&A
CAMERA SKILLS
Why does my The D810 doesn’t

polariser have an have an AA filter…
index mark? but isn’t this like
Roger Roberts, Wales
the D800E?
Gary Cherry,
Chris says… Circular
Whitehaven, England
polarising filters reduce the
amount of polarised light
Chris says… Anti-aliasing
reflecting from the sky or
filters, or optical low pass
from shiny surfaces, and are
filters, have been a feature that
NIKOPEDIA
a great way of improving

manufacturers have been putting in
saturation of your images.
front of their CMOS filters for years. These filters slightly
They are particularly good
softened the image, but in doing so stopped the colour
for removing glare from
interference patterns known as moiré that sensors
water or for deepening the
otherwise produced. The images were then sharpened
blue of a sky to make the
electronically later, in camera or in post production.
clouds stand out.
When you’re at an air show, putting your camera in shutter- The D800E offers a slightly modified filter that reduces
To get the most from the
priority mode ensures your images will be good and sharp this softening effect, while the D810 does without an AA
filter you need to rotate the
filter completely. Removing the effects of the filter means
outer ring until the effect is
I’m heading to an air show soon. What most pronounced (or to the
you get a much sharper picture straight out of the camera –
noticeably so if you focus precisely and eliminate camera
settings should I use for photographing amount that you prefer).
Index marks are a simple
shake. There is still a risk of moiré, but the higher resolution
planes? Will it just be best to leave my way of remembering the
of today’s sensors means that this is less of a problem than
before. Furthermore, moiré is only an issue in some shots,
camera in ‘S’ mode all the time? amount of rotation that
gives your preferred effect.
and can be corrected in editing software. More and more
Chris Chapman, via email Nikon models are being launched without the AA filter.
This is particularly useful as
Q&A
Chris says… Air displays are great places to get

the polariser darkens the
image as it rotates, so some
I’m looking for a second flashgun, but
spectacular shots of aircraft as the planes will fly as close
to the crowds as they can. Even so you can find that you
things, such as focusing, are I’d like it to be controlled remotely using
need a long telephoto lens to get tightly-cropped shots of
best achieved when the
filter isn’t blocking so
my pop-up flash, like my SB-910 is
the Red Arrows and vintage aircraft that you say you hope Nick Mitchell, via email
much of the light.
to be shooting on your day at Duxford.
Your 300mm maximum telephoto setting and your D5100 Chris says… Glad you want to take your flash photography
are certainly capable of getting decent shots. A longer zoom to the next level and try off-camera strobist flash with
would be nice to have, but by no means necessary more than one flash unit. Your D7100 gives
My personal recommendation would be to shoot in you the option of controlling two different
shutter-priority mode and use a shutter speed of 1/1000 sec groups of flashguns remotely, so each can
so that you can be sure of eliminating camera shake as you be set up with different powers for a fully
GEAR CRAFT
pan your lens to track the planes. For action subjects like balanced or purposefully theatrical effect.
this, Auto ISO is a godsend. It will ensure you are using the Unfortunately, not all flashguns you can buy
slowest ISO possible, and give you one less thing to keep can be used remotely in this way – and models
changing as the light changes. such as Nikon’s own SB-910 or SB-700 can be
Focusing can be tricky. I’d use the AF-C continuous expensive options as a secondary flashgun.
autofocus option, and set the AF Area mode to 3D (which Low-cost CLS-compatible options include the
you can do using the ‘i’ button and the cursor keys). Nissin Di622 MkII and Yongnuo YN565EX.
How do I get rid of dark ambitious lighting arrangement with the flash
used off-camera. This takes time, however.
backgrounds in my flash shots? You can increase the ISO setting, but this
Keddie Law, Montrose simply increases the power and range of the
flash, it doesn’t help with the drop off in lighting
Chris says… The reason you’re getting dark with distance.
backgrounds with flash is because of the light There is an alternative, though. If you set the
fall-off. This has got nothing to do with the flash camera to slow sync mode, it will balance the
power or the ISO setting – it’s simply because the flash with the ambient lighting. It does increase
illumination is inevitably going to be brightest for the risk of some movement blur, but you’ll get the On-camera flash on its own produces
light fall-off and dark backgrounds.
objects near the flash. Flash on its own rarely benefit of flash on your main subject while
The secret is to use slow sync mode
gives good results, unless you create a more preserving a more natural-looking background.

Q&A
CAMERA SKILLS
There is a long delay A delay between shots?
ANSWERS
between shots when using
Your Nikon could be
taking ‘dark’ exposures IN A FLASH!
Bulb. Can I quicken this up? Can I connect my D300
Alan Pestell
to my 3G phone?
Russell Mander, via email
Chris says… Yes, the simple way is to
switch Long Exposure Noise Reduction off Chris says… Sorry, no. A low-
– this is the part of the processing that is cost Nikon Wi-Fi module is
adding the frustrating delay you have not available for this model.
NIKOPEDIA
experienced when you’ve been taking
exposures in a tunnel using the B setting I’d like a low-cost
of your Nikon D3100. tripod for my D3200
Go to the Shooting Menu in your Menu Christos Panayides, Cyprus
options and scroll down to the Long
Chris says… In issue 37, our
Exposure NR, then switch this off.
picks were the Manfrotto
Long exposures that last multiple
BeFree MKBFRA4-BH (£130/
seconds or minutes tend to be noisier than
$200) and the MeFOTO
normal short exposures, and the camera
RoadTrip A135OQ1 (£140/$190).
tries to reduce this unwanted speckling by
taking a second exposure, with the shutter
closed, that is as long as the first. It uses
My husband’s Sigma
the noise information from this second
DC 18-50mm won’t work
‘dark’ exposure to make your main
on his D3200.
Joyce Partridge
exposure look less noisy. However this
means that the exposure time is doubled, Chris says… It probably
and for a 30-second exposure you actually needs to a replacement chip.
Q&A
have a 60-second wait between shots. Contact Sigma at service@
sigma-imaging-uk.com
HELP ME CHOOSE...
Nikon 70-200mm f/4 VS 70-200mm f/2.8

Key differences Nikon 70-200mm f/4 £949, $1399 Nikon 70-200mm f/2.8 £1579, $2399
GEAR CRAFT
01 Maximum aperture it’s heavier too. The 70-200mm
Both lenses have a fixed f/2.8 weighs 1540g, while the £949, $1399 67mm filter ring £1579, $2399 77mm filter ring
maximum aperture. The f/4 is 70-200m f/4 is just 850g. The cheaper of the two, A smaller maximum One of the most popular Takes same size filters
it’s popular with travel aperture means that the pro lenses. This is the as other popular pro
about a stop faster than most photographers who do front element is smaller model to choose if you zooms, such as the
budget zooms, letting in twice 04 Length matters
not want the bulk and than on the f/2.8 lens, so are after a telephoto for 24-70mm f/2.8 and the
as much light at the 200mm As well as weight, there is the weight of the f/2.8 lens. filters will be cheaper. restricting depth of field. 16-35mm f/4.
setting. The f/2.8 version is a size to bear in mind – the f/2.8
stop faster still. lens is less likely to fit into an
average kit bag. At 209mm in
02 Softer backgrounds length, it’s 30.5mm longer than
The difference in maximum the f/4, and with a width of
aperture is significant when 87mm, it’s 9mm broader.
you want to restrict depth of
05 Extra support
field. The f/2.8 aperture option

is more likely to enable you to The 70-200mm f/2.8 comes
throw backgrounds out of focus, with a tripod collar for more
and it will let you use a faster balanced support on a tripod.
shutter speed, or lower ISO It also enables quick changes
between landscape and portrait
DX compatibility £149 /$224 collar Free tripod collar Teleconverter
setting. For many users, such Both lenses are perfect The RT-1 ring collar is an The collar comes with The fast maximum
lenses are most frequently used formats possible when using for FX and DX Nikons. On optional extra, so if you the lens. Ideal for tripod aperture means you
at their maximum aperture. a tripod or a monopod. The a DX body, they offer an need one, factor this in use, and quick changes can use a teleconverter
RT-1 collar for the f/4 lens is angle of view equivalent when comparing the between upright and and still set a relatively
03 What’s the weight? an added extra, and costs an to a 105-300mm lens. cost of these lenses. landscape shots. narrow aperture.
The faster lens isn’t just pricier, additional £149/$224.
www.ebook777.com
Q&A
CAMERA SKILLS
Can I use my old I’ve done some training and read the
Ricoh XR Speedlight manual, but I just can’t get it all to sink
400 safely with my into my head! Any suggestions?
Nikon D5200? John Dyson, Fridaythorpe, UK
Pete Bowers via email
Chris says… Just keep
soldiering on John, it will come
Chris says… The worry
in the end! As you infer in your
about putting old flashguns
email, you have lots of time to
on newer SLRs is that the
get to grips with real
trigger voltage used by the
NIKOPEDIA
photography now that you have

flash could be much higher
retired and bought a D5200. You
than modern circuitry can
are doing the right things to help
deal with, which could lead
you master ISO, shutter speeds
to an expensive repair. Not
and metering, which you are
all old ’guns have this
struggling with at the moment.
problem, but I can’t find a
We do have a new video course
trigger voltage for yours to
that we have just brought out that may be of some help. It is
be sure it would be safe.
presented by our contributor Chris Rutter, and called Master
Using the Ricoh on the
your Nikon D-SLR Camera. It is available as a DVD-ROM (from
hotshoe may be of limited
www.myfavouritemagazines.co.uk/photo) or as an iPhone/
use anyway, as you would be
iPad app. It’s great for anyone who struggles with the basics.
I want a portrait prime lens, but forced to set up everything
manually. Instead, I would
someone suggested getting a macro recommend a more modern I’m perplexed by the huge range of
instead, such as the Sigma 105mm f/2.8. strobe. My top choice would
be Nikon’s SB-700, costing
prices quoted for a new D7100…
Is this good advice? Charles Nicholas, via email
Q&A
£225/$330.
John Hall, via email Don’t throw away your
Chris says… The internet means that you can shop for the
Ricoh, though. These old
most attractive prices in a way we could only dream about a
Chris says… There is a lot of sense in this suggestion as a ’guns are great for strobist
few years ago. But you must shop with your eyes wide open.
macro lens can often double as a portrait lens, giving you set-ups, when used
You say you have seen D7100 bodies on sale from between
two useful primes in one. remotely and fired by
£809 down to a tantalising £536. I did my own trawl to see
A portrait lens typically has an effective focal length of a wireless trigger.
what I could find. I use www.camerapricebuster.co.uk to find
around 100mm. That means using a 100mm lens on a full-
the best UK prices for kit. It only uses well-established
frame camera, or a 60mm or 70mm one on a DX APS-C
dealers, and on the day I looked the best price I could find
camera, like your D300S. This angle of view is great for
was £759. But on eBay I found a new body available for
portraiture as it avoids the facial distortion given by wider
£539.99. The catch? If you read all the details carefully, it
lenses, but doesn’t force you to be too far from you subject.
clearly tells you that you are buying
A portrait lens also needs a wide maximum aperture to blur
from Hong Kong. The risk with
GEAR CRAFT
backgrounds, but most macro lenses give you a maximum

this is that you could have to pay
aperture of f/2.8, which is more than adequate.
import duties and VAT on the
The Sigma 105mm f/2.8 EX DG HSM is a superb macro lens,
parcel when it arrives – and
and a firm favourite in recent group tests. The focal length is
although you would get a
a touch too long for portraits, but fine should you upgrade to
guarantee, it would be with
full-frame. For a shorter macro, I’d recommend the Nikon
the retailer and not Nikon UK.
60mm f/2.8D, which I personally use.
How can I set a minimum the Auto ISO sensitivity to On, you can then
specify the maximum ISO you want the
shutter speed when using camera to use and the minimum shutter
long lenses? speed. From now on, it will increase the ISO
just as much as it needs to achieve that
Nick Nikolaiczuk, Ontario
minimum shutter speed (but only up to the
upper ISO limit you’ve set).
Chris says… There is no setting specifically The name is slightly misleading because it
for minimum shutter speeds, but there is one makes you think this feature is all about ISO. In
which will work just as well. It’s the Auto ISO fact, it’s designed for exactly those situations
setting. You’ll find this on the Shooting menu, you describe, where you want to be sure you’re You can use your Nikon’s Auto ISO feature to set the
under ISO Sensitivity settings. When you set shooting at a high enough shutter speed. minimum shutter speed you want the camera to use

Q&A
CAMERA SKILLS
ANSWERS
IN A FLASH!
I want to process RAW
files, but have mislaid my
ViewNX disc that came
with my D3100.
Why doesn’t Neil Meredith, Northants, UK
Chris says… Download
Nikon make lenses
NIKOPEDIA
the latest copy for free at
that are as wide as http://nikonimglib.com/nvnx/
it used to? index_en_nsa.html
Paul Bostock, London, UK
I bought a copy of the
Chris says… One reason is
Can Nikon NX-D run on Windows XP – or can Photoshop magazine, but the disc
that manufacturers have to was missing. Should
make two ranges of wides: CS5 work on Vista or later? there be one?
one for DX SLRs, and one for Alan Biggs, via email Dawn Grainger, via
FX models. Nikon once made Facebook
a 6mm fisheye, but its Chris says… Nikon’s new NX-D editing program unfortunately does not work on the
Chris says…Yes, there’s a
current widest DX models Windows XP operating system. You need Windows Vista, or Windows 7 or 8. The full
disc with the printed edition
are the 10-24mm or the system requirements can be found at https://support.nikonusa.com/app/answers/
(videos are streamed with
10.5mm fisheye, and the detail/a_id/19153/~/capture-nx-d-1.0.1---windows-only
digital editions). Email details
widest FX lens is the 14mm, The good news, however, is that it seems that your old copy of Photoshop CS5 will
to support@futurenet.com
or 16mm fisheye. Sigma work with Windows Vista and Windows 7 (see the detail at http://www.adobe.com/store/
and our help desk will mail
Q&A
stretches further, producing en_us/popup/software/photoshop5extended/systemreqs.html ).
you a replacement.
a 4.5mm circular DX fisheye, So you can use NX-D to process RAW files, and then use CS5 for the creative stuff.
and an 8mm FX lens.
HELP ME CHOOSE...
Nikon 16-35mm f/4 VS Nikon 18-35mm f/3.5-4.5

Key differences Nikon 16-35mm f/4G £829, $1260 Nikon 18-35mm f/3.5-4.5G £519, $750
GEAR CRAFT
01 Every mm counts as useful as on a telephoto lens,
£829, $1260 77mm filter ring £519, $750 77mm filter ring
With wide lenses, two where image shake is more A popular pro choice as a Takes same size filters Introduced last year, the Despite being a smaller
millimetres can mean the of a worry, but it is useful for wide-angle all-rounder. It as other popular pro 18-35mm is a low-cost zoom, it has the same
difference between squeezing shooting handheld in low-light is much smaller and less zooms, simplifying the wide-angle. Don’t muddle filter thread as other
the whole room into the shot situations where you may need expensive than the Nikon use of filters or the hunt it with the older, inferior popular pro zooms, such
14-24mm f/2.8G. for a lens cap. 18-35mm f/3.5-4.5D. as the 24-70mm f/2.8.
or not. The 18-35mm has a to use low shutter speeds.
maximum angle of view of 100
degrees, while the 16-35mm 04 Aperture difference
gives 107-degree coverage. The 16-35mm has a fixed
Neither is a sensible choice maximum aperture of f/4
for use with a DX SLR, as the through its zoom range. With
effective crop means you lose the 18-35mm, the maximum
the wide-angle effect. aperture reduces from f/3.5 to
f/4.5 as you zoom in. In practical
02 Heavy glass use, this is not a reason to

The 16-35mm lens tips weighs choose one lens over the other.
in at 678g, while the budget-
priced 18-35mm is just 381g. 05 Flash of the blade Close focusing Optical Close focusing Optical
The 16-35mm has a nine-blade You can focus extremely construction Another lens capable construction
03 Blur beater diaphragm, creating more close: the minimum Constructed from 17 of focusing close-up, Constructed from 12
focusing distance (from elements in 12 groups, this focuses down to lens elements in eight
Unlike many wide-angles, the circular aperture openings than sensor to subject) is it also benefits from 0.28 metres, giving a groups. There are two
16-35mm has built-in Vibration the seven-bladed 18-35mm 0.29 metres – giving a Nikon’s flare-minimising maximum magnification extra-low dispersion
Reduction (VR). This image when the lens is stopped magnification ratio of 1:4. Nano (N) Crystal coating. ratio of 1:5. (ED) glass elements.
stabilisation may not seem down to f/8 or smaller.
www.ebook777.com
Q&A
CAMERA SKILLS
Can I convert
JPEGs into RAW
files?
Neil Meredith, Northants
Chris says… Sorry, Neil, but

it can’t be done. Your Nikon
captures images as RAW
data initially, but if the
camera is set to produce
NIKOPEDIA
only JPEG images, it then

processes that RAW file The Nikon D5300 comes with built-in GPS for tagging your
photos with location data – but Wayne Kerry is not impressed
using the white balance,
Picture Control and other
settings you’ve used on the
My D5300’s GPS is not as good as my
camera, discarding what it CoolPix 510’s
considers any ‘redundant’ Wayne Kerry, via email
RAW data. The JPEG
contains only a fragment of Chris says… We didn’t notice any GPS issues with the D5300
the original RAW data, and we had in for review, but a search on the Internet suggests
you can no more recover a you’re not the only one facing location-finding issues.
RAW file from a JPEG image The product page for the D5300 on Nikon’s website
than you can recover the contains a reference to an A-GPS (Assisted GPS) support file
original negative from a which you can download and install – full instructions are
What is the best telephoto option for print. You could convert your provided on a Nikon support page at http://nikonimglib.com/
my D5100? JPEG image into an Adobe
DNG file in Photoshop, and
agps2/index.html.en. We don’t have a D5300 in the office, so
we can’t test out the update right now, but it looks as if it may
Q&A
Claude Mattson, South Africa

DNG is Adobe’s generic RAW go some way towards solving GPS issues that you face – if
file format, but it would only you decide to install it, please let us know how you get on.
Chris says… Claude is torn between the new Tamron
be the illusion of a RAW file
150-600mm lens, the Sigma 150-500mm, a used Nikon
– all the extra brightness
80-400mm lens and a Sigma 70-200mm with 2x convertor.
Many other Nikon owners are in the same situation, faced
and colour information that Can I get Camera Raw 8.4 and its 10
with a choice between new third-party lenses, used Nikon
makes RAW files so useful
would already be gone.
adjustment panels for Elements 11?
zooms and shorter fast zooms with a teleconverter. We don’t Stan Pearlstein, Cary, NC, USA
have enough lab test data to enable us to compare all three
of Claude’s options directly, but I can offer some personal Chris says… Sadly not, Stan. The version of Camera Raw
observations that might help. First, zooms with the right that works with Elements is a cut-down version with just
‘native’ focal range are usually the best choice; shorter, three adjustment tabs. The only way to get the full set of
faster zooms with teleconverters offer light weight and tools in Adobe Camera Raw is by upgrading to Photoshop.
GEAR CRAFT
convenience, but the quality will start to suffer, especially Also, whenever a new version of Elements or Photoshop is
with a 2x converter. The new Nikon 80-400mm G lens is good announced, no more updates to Camera Raw will be made
but expensive; if you’re shopping for a used one, what you find available for the old one (occasionally there is some overlap,
is almost certainly going to be the older D-type lens which, You can’t convert JPEGs to but this is basically the system). Updates for Elements 11
RAW files. RAW files (right)
I’m afraid, is not one of Nikon’s finest. contain all the data captured stop at Adobe Camera Raw 8.0. You can see the full version
I’d say the Tamron 150-600mm looks a good bet, Claude, by the sensor, but JPEGs (left) compatibility list at http://helpx.adobe.com/x-productkb/
as you’ll get the right balance of price and features. have already been processed global/camera-raw-compatible-applications.html.
I want to freeze water with flash, but my D90

won’t shoot faster than 1/200 sec
Gary Cherry, Whitehaven
You can use flash Chris says… All digital SLRs use a focal plane shutter design which
to freeze a limits the maximum shutter speed you can use with flash. The way round
fast-moving this is to ensure that there’s no ambient or background illumination at
subject, even all, and the flash is the only light source. When you do this, your water
though your
Nikon’s flash
drops will be sharp because the duration of the flash itself is very short.
synchronisation The lower the flash power, the shorter the flash duration – and at
speed is limited minimum power you can get an effective shutter speed of 1/20,000 sec.

Q&A
CAMERA SKILLS
I can’t get a ANSWERS
‘milky’ water effect IN A FLASH!
even with a five- Should I replace
minute exposure Capture NX2 with Capture
Joaquín de Iturbide, NX-D? I have a D600
Cozumel, Mexico Geoff Mitchell, Hedge End,
Why is my 18- Chris says… In order to get
Nr. Southampton
Chris says… Stay with
105mm kit lens so
NIKOPEDIA
this ‘milky’ effect, conditions
Capture NX2, Geoff. Nikon
bad at macros? have to be just right. If the
water is relatively still it’s not
won’t update the software
Graham Collins, South for new cameras, but it works
going to work, because it’s
Pacific fine with your D600 and it’s
the movement of the water
actually more powerful than
that creates the blur. Choppy
Chris says… Graham Capture NX-D.
waves give a better effect
explains: “In my film days I
than gentle ripples.
used extension rings to get a
magnified image. My digital
Experiment with the time, as Will Lightroom 5 and
images are sharp with a
well – longer exposures won’t Elements 12 recognise
prime lens. So what’s the
necessarily give the best D7100 RAW files?
effect. We did our own Tim Wells, via email
problem with my kit lens?”
experiments in issue 9 of
Well, probably nothing, except Chris says… For the D7100
N-Photo with a lighthouse.
that modern zooms are more you need Adobe Camera Raw
We got an effect where the
complex than traditional 7.4 or later, and Elements 12
water became smooth, but
primes. By using it with goes up to ACR 8.0. Lightroom
the sea wasn’t rough enough
extension rings you’re forcing 5 is still current so it gets all
Q&A
to give the ‘smoky’ effect you
it to focus much closer than the latest updates.
see in many seascapes.
its optimum focus range.
HELP ME CHOOSE...
Nikon D610 vs Nikon D750

Key differences Nikon D610 £1269, $1597 Nikon D750 £1799, $2297
GEAR CRAFT
01 Autofocusing 03 ISO range
The D610 uses Nikon’s The D750’s Expeed 4 processor £1269, $1597 Fixed LCD £1799, $2297 Articulating LCD
enthusiast-orientated 39-point does have an effect on its ISO The D610 was a modest The 921k-dot LCD on Launched a year after The D750’s LCD boasts
Multi-CAM 4800 autofocus range, though: the D610 offers a upgrade to the Nikon the D610, measuring the D610 and two years a higher resolution
D600, which was 3.2 inches across the after Nikon D600, the than the D600’s, at
sensor, but the D750 has the maximum non-expanded ISO of plagued by reports diagonal, is very good, D750 boasts a number 1,229k dots, and it’s
professional-level 51-point 6,400, while the D750 goes one of sensor dust. but it’s fixed . of improvements. articulating.
Multi-CAM 3500 FX autofocus stop higher to ISO 12800.
sensor with the latest
enhancements, including Group 04 Movie mode
Area AF. As such, it should be
Both cameras can shoot full
significantly better at handling
HD movies, but the maximum
fast-moving subjects.
frame rate on the D610 is 30p,
02 Expeed 3 vs Expeed 4 while the D750 can go up to
60p, allowing half-speed slow

The D610 uses Nikon’s Expeed 3
motion at full HD resolution.
image processor, while the
D750 has the newer and more
powerful Expeed 4 version. This 05 Wi-Fi
does improve the D750’s The D750 has Wi-Fi built in, 24MP sensor Size and weight 24MP sensor Size and weight
The D610 offers The D610 weighs in at a Like the D610, the D750 It’s very close, but
continuous shooting speed, but but the D610 doesn’t – you
the second highest fairly solid 850g, but for has a 24-megapixel despite its tilting screen,
only by a small amount – the have to use Nikon’s WU-1B resolution of any full- a full-frame camera it’s full-frame sensor, but the D750 is both slightly
D610 can shoot at 6fps, while Wi-Fi adaptor, a small and frame Nikon and delivers surprisingly compact at Nikon says the sensor is smaller and lighter than
the D750 manages 6.5fps, so inexpensive module that excellent image quality. just 141x113x82mm. ‘newly-designed’. the D610, at just 840g.
hardly a deal-breaker. you plug into the camera.
www.ebook777.com
Q&A
CAMERA SKILLS
Why do my
images look
under-exposed on
my computer but
fine on my LCD?
Rodney Collins, via e-mail
Chris says… First, check

the LCD brightness settings.
NIKOPEDIA
You can boost the LCD’s

brightness to combat You may not be able to get close to the wildlife you’re shooting if
the animals are skittish or dangerous, so a long lens is a must
ambient light, so that might
be the cause of the problem.
You can tweak the LCD
Is a 70-200mm f/2.8 lens good enough
settings to make the for wildlife photography?
D-SLR’s display more Susobhan Gupta, via email
relatable to that of your
computer. To do this, press Chris says… For wildlife you’re going to need optimum focal
the Menu button and go length, which the 70-200mm f/2.8 might not supply. A prime
A wedding can involve varied lighting conditions, so a versatile into Setup, then Monitor lens such as Nikon’s 400mm f/2.8G (£7000/$8700) is the
lens capable of shooting in low light and outdoors is ideal Brightness. It can be pie-in-the sky option, but the 200-400mm f/4G ED VR II is
manually adjusted, using a (slightly!) more affordable option at £4900/$6650. The
Is a 24-70mm f/2.8 lens a good choice the image mentioned as a original version is available secondhand, and is cheaper
for photographing a wedding? reference point.
It’s always worth
at around £3000/$3900, but as ever be careful to opt for a
reputable retailer when buying used. The Sigma 150-500mm
Neil Brock, Newport, UK
double-checking the f/5-6.3 produces some excellent results for its £700/$870
Q&A
histogram before walking price tag, despite lacking the constant aperture of the other
Chris says… The 24-70mm f/2.8 is a wedding staple, being
away from a location. The two lenses. If you can’t afford to buy one of these lenses,
bright, fast and with a focal length capable of both group
histogram is a visual consider hiring one if you’re going on a special shoot.
shots and solo portraits. If
representation of the
you’re looking for one lens
to cover the whole day it’s
exposure of an image, and is
accessible via the display
What’s a good upgrade from a D80?
a great choice. I would also Mike Wallis, Easingwold, UK
options of your D-SLR.
consider the 24-120mm f/4 ED
Most models allow for a
VR, which offers stabilisation Chris says… The direct replacement for the D80 is the D90.
histogram to be displayed
for shooting in low light or With the D90 now discontinued, though, the closest current
on playback.
during the reception, and is equivalent is the D5300 (£550/$700, body only). The size and
almost 200g lighter, with an weight are similar, but you’ll gain a flip-out LCD screen with
extra 50mm of focal length. Live View and HD video recording, plus a 24.1-megapixel
GEAR CRAFT
As the lighting is bound to sensor capable of capturing stunning detail – quite a jump
change as you move from from the 10.2 megapixels of the D80. The only slight concern
outdoors to in during the is that the D80 has a focus motor, which the D5300 lacks,
day, it’s worth opting for a meaning some of your lenses may be incompatible (if they’re
constant-aperture lens so you Your histogram will tell you
missing the vital AF-S designation). In that case, the next
don’t have to worry about the whether your shots really current body with a motor would be the D7100 (£800/$900,
aperture changing if you zoom. are under- or over-exposed body only), which is a robust D-SLR geared towards action.
Why does my D7100 show EV compensation

the wrong way round in Manual mode?
Brian Cross, by email
Chris says… Exposure compensation is want the shot to be deliberately overexposed

primarily used to adjust exposure in the or underexposed. So if you use the
automatic and semi-automatic exposure compensation control to dial in +1EV but
modes – it doesn’t work in the same way in keep the exposure settings the same, the
Manual mode. If you use it in Manual mode it camera will now indicate that the image is
effectively recalibrates the meter. You have going to be underexposed according to the
to imagine you’re telling the camera you +1EV setting that you’ve asked for.

Q&A
CAMERA SKILLS
Why are the RAW images taken by a Nikon D80 and a ANSWERS
Nikon D7100 different? IN A FLASH!
Dave Garrington, Shropshire, UK
Can I preview in mono
Chris says… While but shoot in colour?
all RAW files have John Teague, Pittsboro,
qualities in common, NC, USA
Why won’t the file type is being
constantly updated
Chris says… If you shoot
Elements 11 in RAW, all the colour
NIKOPEDIA
to cope with
information will be preserved
recognise my Nikon increasing
information and
even if you adopt a monotone
D610 RAW files? any additions to the
picture style. Open the image
in Capture NX2 and it will
John Clydesdale, metadata cameras
appear monochrome. You just
via email produce, such as GPS
need to change the Picture
data. As the two
Control to a colour option.
Chris says… Your version of cameras you’re
Adobe Photoshop Elements referring to have
does not support the D610 or completely different 18-200mm f/3.5-5.6 or
the RAW files it produces, so sensors and 24-120mm f/4 lens?
upgrading to version 12 or processors, the Tim Wells, via email
switching over to Lightroom information recorded
Chris says… The extra focal
or Photoshop CC would be – although of the
length is tempting, but it’s
your best course of action. same subject and in
better to opt for a constant
Otherwise the Nikon View a file with the same
aperture, as the focus speed
NX2 software packaged extension – will be
and low light performance
Q&A
Different processors will result in
with your D610 should be fundamentally
different RAW files, even when are usually far superior.
satisfactory for processing different. shooting the same subject
your RAW files.
HELP ME CHOOSE...
NIKON 70-300mm f/4.5-5.6 VS 70-200mm f/2.8

As the go-to lens of choice for pro photographer David Nikon 70-300mm f/4.5-5.6G IF-ED VR Nikon AF-S 70-200mm f/2.8G ED VR II
GEAR CRAFT
Carlier, the 70-300mm f/4.5-5.6 VR might seem like an odd
choice over the 70-200mm f/2.8 VR II, but there are plenty of £420/$590 VR II £1580/$2400 VR II
advantages to be had... Released in 2006, the 70- VR II is in place rather Released in 2008, the This second-generation
300mm f/4.5-5.6 added than the first-generation VR II version replaced the VR offers an extra stop of
VR and internal focusing vibration reduction, first-generation version, compensation, allowing
Key differences to the version launched

in 2001.
offering four stops of
image stabilisation.
adding updated vibration
reduction.
slower shutter speeds
without impacting focus.
01 Price all day, in some unfavourable

An obvious one. Even a new conditions, is comfortable
70-300mm f/4.5-5.6 is around compared to the 70-200mm,
£420/$590, a third of the cost and is quicker to use when
of the 70-200mm f/2.8 VR II. tracking a moving subject.
02 Half the bulk 04 Crop factor

Would you rather lug a 1540g On a DX body the 70-300mm

or a 745g lens up a hill? The lens is effectively a 105-450mm
70-300mm misses out on the lens due to the 1.5x crop factor,
robust build and advantages of as opposed to 105-300mm.
a constant f/2.8 aperture, but That extra reach can make Up to 300mm Build Constant f/2.8 Build
focal length At 745g, it’s lightweight, aperture Thanks to weather
is also a little under half the all the difference, especially Even pro-level Nikon while the 80x143mm The constant aperture is sealing, the Nikon AF-S
weight as a result. when the weather conditions zoom lenses exceeding dimensions make it one a huge help in low light, 70-200mm f/2.8G ED VR
aren’t conducive to attaching this focal length are few of the most compact and allows for the focus II can stand being outside
03 No monopod required a teleconverter or switching to and far between. lenses to start at 70mm. to be rapid and accurate. for prolonged periods.
Shooting with the 70-300mm another, longer lens.
www.ebook777.com
Q&A
CAMERA SKILLS
I have a Nikon
D70 and I would
like to know where
I can buy a printer
to use at home
without my
computer
Mr T E Yates,
NIKOPEDIA
Great Ponton, UK
Camera not aware that it’s got a lens fitted? Cleaning the
contacts on your D-SLR can solve a number of issues
Chris says… There are
A camera like the Nikon D90 might work with an older, film-era
flash, but it could damage it, so it’s usually not worth the risk!
plenty of printers that meet
your requirements. You have
When I use my Tamron 150-600mm
two choices: connect the lens, my Nikon D5200 displays an error
Is it possible to use a non-dedicated camera directly to the
message saying ‘Lens not attached’, and
flash on my Nikon D90 to trigger other printer via a USB lead with
the card in the camera; or it stops working. Tamron’s service center
slave flash units? remove the CF memory card
says the lens itself is fine. What could be
Mike Ball, via e-mail and put it into a compatible
printer. Most modern the problem?
Chris says… You say you’ve got an old adapter from your film printers will include a USB Sanjay Dutt Sharma, via Facebook
days, Mike. It’s advisable to use something more modern connection and Pictbridge
than a film-era piece of kit, especially if you’re unsure of compatibility, so you can Chris says… Sanjay, I would clean the contacts on your body
how it will work with your D90. Some older equipment uses simply plug your D70 in. using a Lenspen or similar, and update the firmware on your
higher voltages than the modern equivalents, and without Some, such as the Canon D-SLR. If the problem persists, your best bet is to take your
Q&A
the correct information you may cause damage to both SELPHY CP810 (£75/$115) D5200 to a verified Nikon repairer.
camera and flash unit. My advice would be to opt for a allow you to plug in a CF
wireless triggering system, which can cost as little as
£30/$40, and will work with your system.
card. It’s also worth bearing
in mind that the increasing
A couple of the buttons
popularity of SD cards on my D800 keep getting
I have a D700 and was wondering if it means CF-compatible
printers are less common.
stuck. Any ideas for
would be possible to use my old Nikon unsticking them or the
SB-25 flashgun with it best way to clean them?
Peter Bennett, via Facebook Louise Law, Northern Territory, Australia
Chris says… Nikon’s i-TTL function won’t be available on the Chris says… Although you tell us that there are no shops in
GEAR CRAFT
SB-25, as it was released before this feature was introduced, your area and you’re reluctant to send your camera away,
so the functionality of the flash will be somewhat reduced. Lou, we’d still recommend sending it to be repaired, as you’ll
You’ll still get some degree of automation, as the flash will probably need to have it taken apart to get the buttons fully
fire at the same time as you press the shutter release, and it working. It’s best to avoid trying to unstick the buttons
will accept settings adjustments from the D90 (rather than The Canon SELPHY CP810
yourself with solvents or anything similar, and there isn’t
having to be controlled manually) but it won’t be as accurate is one of the few modern really anything thin enough to get into the body to clean
as the i-TTL metering on a newer flash. printers with a built-in CF port the buttons without dismantling the camera.
I’m confused about where my D7000 Can I use the Tamron SP Can I use Nikon PK12
takes a meter reading in Spot mode 24-70mm f/2.8 with my and PK13 extension tubes
Nikon D7100? with my D300 and 50mm
Claudia West, Cirencester

Jacinto Jiminez, via Facebook f/1.8G lens?
Andrew Southwell, by email
Chris says… On older cameras, spot mode took a meter Chris says… It’s designed for use
reading from a spot in the centre of the frame, but Nikon on a full-frame camera, so it can Chris says… Not with your G-type
D-SLRs link the meter reading to the AF point, so if you still be used on a DX model like lens, I’m afraid, because these
set the focus point over an object away from the centre, yours, but it will not give quite as tubes do not carry lens aperture
the camera will take a spot reading from that. The wide a wide-angle as something control from the body to the lens.
exception is Auto Area AF mode, which always takes a like the Sigma 17-50mm f/2.8.
reading from the centre.

Q&A
CAMERA SKILLS
ANSWERS
IN A FLASH!
Your web page is being
redirected. Are you still
using it?
Murray Miller, via Facebook
Elements 11 does Chris says… www.nphotomag.
not recognise my com has moved over to www.
NIKOPEDIA
digitalcameraworld.com,
D5300’s RAW files as part of a consolidation of
as the camera is The Nikon D610 is an
excellent all-round
Future’s photo websites. It’s
got the same great content.
too new. How do full-frame D-SLR
I change that? I have a Nikon D5200 and want to upgrade. Which is In the February issue,
Eduard Vodovoz, via on the first page of your
Facebook better for my needs: D800, D750 or D610? Apprentice feature, Jayne
‘Thomson’, via e-mail has her lens cap on!
Chris says… Unfortunately Peter Wrigglesworth, via
the version of Camera Raw Chris says… ‘Better’ is relative, Thomson, but as you say you want to use your camera Facebook
you need to view the files professionally to shoot a variety of subjects, a versatile body would be best. After a DX
Chris says… Peter, it was
isn’t available for your body, the size and weight of a full-frame camera, not to mention the cost, is likely to be a
down to the weather! The wind
version of Elements, so shock, so the D610 is probably your best bet. It has a useful six-frames-per-second burst
and spray meant leaving the
you’ll need to upgrade to a rate, which is perfect for wildlife, an ISO range that goes up to 6400, which is great for
lens unprotected would have
new version, Eduard. Adobe low-light shooting, and a comparatively small, light frame for a full-frame D-SLR. But
quickly made it too filthy to
Q&A
Photoshop Elements 13 will its main advantage over the other two is the price, which is around £500-£700/$500-
use. Well, that’s our excuse!
be able to recognise the $800 cheaper at the time of writing.
RAW files from your D5300.
HELP ME CHOOSE...
Nikon D5300 VS D5500

Key differences
There’s a new DX-format Nikon to play with – so
how does it compare to its predecessor?
Nikon D5300 (body only) £505/$697 Nikon D5500 (body only) £640/$900
GEAR CRAFT
01 Touchscreen added but the 60g of weight saved, and
The major addition to the the few millimetres shaved off £505/$697 GPS £640/$900 Articulating
D5500, and the one that’s elsewhere, means the D5500 Launched in 2013, the Having the ability to Released around two touchscreen
D5300 offered a larger geotag your images years after the D5300, Touchscreen
grabbed the most headlines, is just as good as the D5300 screen, a longer battery built into the camera is the D5500 has only the functionality turns the
is its touchscreen. Without on long journeys, if not slightly life and a smaller body a significant feature at touchscreen controls 3.2-inch rotating LCD
removing any functionality, the better, making it a great choice than the D5200. such a low price point. as a major advance. into a control method.
3.2-inch flip-out screen can now for your summer holidays.
be used to control the camera,
and its manoeuvrability means 04 Longer battery life
it’s especially useful. The battery life depends heavily
on usage, but the specifications
02 GPS taken away claim the D5500 can take 220
In order to achieve the D5500’s more shots using the same EN-
compact dimensions, Nikon has EL14 battery as the D5300. This

had to remove the built-in GPS is a huge leap, and could make
unit of the D5300. If you want to all the difference on a long trip
geotag your images, you’ll need or day out.
a GP-1A adaptor (£190/$280).
05 Flat Picture Control HD Video Sensor 5fps burst mode Built-in Wi-Fi
Built-in Wi-Fi, however, remains, recording Its 24.2-megapixel Has the same decent Wireless networking can
enabling you to transfer images A fairly recent addition to the The 1080p 60i HD video DX sensor means eye- 1080p 60i movie mode be used to control the
quickly and easily. Picture Controls lineup (it also mode puts the D5300 popping detail and the as the D5300, plus the camera, transfer images
features on the D810 and D750), alongside the likes of ability to crop without same five-frames-per- and more, making the
03 Smaller and lighter this low-contrast image style the D7100. diminishing quality. second burst mode. D5500 hugely versatile.
The differences may be minor, will appeal to videographers.
www.ebook777.com
Q&A
CAMERA SKILLS
Could you
recommend a
scanner for 35mm
slides, negatives
and larger format
negatives?
Edward Laine, via email
Chris says… Unfortunately

NIKOPEDIA
the last Nikon Coolscan A D-SLR shutter is very robust, and will normally have a lifespan
scanner was produced in extending into the tens of thousands of actuations
2004, thanks to the growth
of digital photography and What is the typical life expectancy
the dwindling interest in
film photography.
of a D60’s shutter? Mine is approaching
There are a number 10,000 actuations
of third-party options to Martin Shaw, via email
choose from, including the
range from Plustek, which Chris says… A Nikon D60 shutter typically has a life
The different sizes of DX and FX sensors means some lenses
suits a variety of budgets, expectancy of around 50,000 actuations, although many
will be affected if you move from APS-C to a full-frame D-SLR
and Epson flatbed models. models go past that figure without issue when taken care
We haven’t tested film of. If your shutter does fail for any reason, there are repair
I’ve upgraded from a D200 to the D600. scanners in N-Photo, but in options through Nikon or third parties. Whether the cost of
Can you tell me what is the widest lens I our experience dedicated
slide and negative scanners
the repair is beyond what you’re willing to pay is another
matter, but a dead shutter needn’t mean a dead camera.
can use without risking vignetting?
Q&A
are better suited to the task

Alan Wisberg, via email than flatbed models, which
require a special holder and I’m looking to sell my D300
Chris says… Vignetting is a reduction of an image’s
brightness at the edges of the frame, usually indicated by
other modifications.
You can pay specialist
and upgrade. How can I
darkened corners. It can be caused by a number of things, firms to do your scanning. check the actuations?
including filters and filter holders when shooting at very wide Depending on the amount of David Lloyd, via email
angles, especially at wider apertures. negatives you have, this may
With dedicated FX (full-frame) lenses, you shouldn’t have be cheaper, especially when Chris says… How you check the number
too many problems with vignetting, as these lenses are built some of your more unusual of shutter actuations depends on your model
for the full-frame sensor format. You’ll only really encounter sizes are considered. of camera. On some the information can be found in the
an issue if you try to use a DX lens on an FX body, because a menu, while on others you’ll need to look through the EXIF
DX lens is designed for a smaller sensor, and so produces an data (and some older models don’t offer the feature at all). In
GEAR CRAFT
image that isn’t big enough for an FX sensor. That said, your the case of the D300 it’s in the EXIF data, so all that’s required
D600 should compensate automatically for this when an DX is a recent image and a program capable of reading the EXIF.
lens is attached, by automatically restricting images to the Actuations aren’t everything when checking the condition
middle of the sensor. The only down side is that resolution of a D-SLR though; Live View only requires a single actuation,
will be reduced, as you’re no longer using the whole sensor. The Nikon Coolscan range of
for example, but can be used to shoot reams of video. Check a
The only instance in which you’ll experience vignetting is if scanners was discontinued camera’s physical condition, and check the returns policy,
you disable this so-called DX crop mode. around 10 years ago before buying used.
Nikon ViewNX 2 doesn’t always checked online, though, and some people suggest
the AF point will not be displayed if your camera is
display the autofocus point for my set to continuous AF mode and the picture is
D7000 and D8000 taken before the AF has been confirmed. The AF
point probably won’t be displayed for images that
David McConnell, Kilkeel
have been edited in other software, either.
Are you using the latest version of ViewNX 2?
Chris says… We’ve not been able to reproduce the This can be downloaded free from the Nikon
issue you describe, and all the shots we’ve looked website in the Services & Support section.
at on the computer taken with a variety of Nikon
D-SLRs, appear to display the AF point correctly, ViewNX 2 can display the focus point used by your
both for standard and Live View shots. We have camera, but not if you’ve used manual focus

Q&A
CAMERA SKILLS
Sigma’s 70-200mm is an
excellent option for the
ANSWERS
aspiring sports photographer
IN A FLASH!
My stepson has been
playing with my D3 and
I’m unsure how to turn
the bracketing off
Why can’t I Lori Scott, via Facebook
Chris says… Hi Lori, if you
import RAW Files
NIKOPEDIA
hold down the BKT button on
from my Nikon the top of the camera, then
D750 into Adobe rotate the dial just below
the LCD display until ‘OF’ is
Lightroom or I have decided to upgrade my lens to photograph shown, that should disable it.
Elements? motorsports and aviation. What would you recommend What are the best
Barry Tetchner, via email
for low, medium and high budgets? settings for shooting
Chris says… You need Dave Hewitt, via email
a football match?
Thomas Sands, via
version 8.7 of Camera Raw, Facebook
and version 5.7 of Lightroom Chris says… The focal length we’d recommend for those subjects is between 70mm
in order to support your and 300mm. The most affordable option within that range is the Nikon AF-S 70-300mm Chris says… I’d recommend
D750’s RAW files. Photoshop f/4.5-5.6G IF-ED VR, which has Vibration Reduction technology to combat shake and 1/500 sec at f/2.8 or f/4 and
Elements 13 supports the costs around £419 ($639). The Sigma 70-200mm f/2.8 APO EX DG OS has a fixed aperture auto ISO. Make sure you have
relevant version of Camera and optical stabilisation, and costs around £739 ($1128). The Nikon 70-200mm f/2.8G ED a decent zoom lens, such as
Raw, so if you’re using an VR II, which has the second-generation VR technology, is the most expensive option. It the Nikon 70-200mm f/2.8 VR
Q&A
older version of the costs around £1579 ($2410), and is recommended if you’re taking the step up to a more II and, if possible, use a D-SLR
software you’ll need to professional body as well, but either of the other options will be perfect for you. with a high burst rate.
update via Adobe’s website.
HELP ME CHOOSE...
NIKON D610 VS D600

Key differences
These cameras are so similar there don’t seem to be
many changes, but the D610 has a fair few advantages…
Nikon D610 (body only) £1199/$1497 Nikon D600 (body only) £870/$1350
GEAR CRAFT
01 More of the same 03 Be more discreet
Physically, these two D-SLRs The Quiet Continuous mode £1199/$1497 24 MP FX sensor £870/$1350 Sensor issues
are very similar. The 850g adds a more subtle edge to Being the most affordable The amount of detail The D600 can still be found Issues with the D600’s
FX body Nikon produces that can be captured new in a few places, but it’s sensor were well
magnesium alloy body is the burst mode. It knocks the makes the D610 extremely means the D610 is more likely you’ll be buying publicised, leading to an
convenient to cart around all speed down to three frames per attractive to any DX suitable for every used, due to the camera extended warranty for
day, and robust enough to stand second to minimise the noise photographer stepping up. photographic style. being discontinued. those models affected.
up to professional usage, while caused by mirror movement
the layout of the controls is the inside the camera, which is
same enthusiast-orientated useful for shooting indoors,
design as on the D7100, making especially when photographing
it ideal for users new to full- events such as weddings.
frame cameras.
04 Auto white balance
02 Faster burst shooting improvements

Half a frame per second gained Although this is somewhat
on the D610 may not sound like difficult to measure, the
much, but going from 5.5 to six auto white balance has been
frames per second gives you an improved, and it definitely
Burst shooting 39-point AF Weatherproofing 3.2-inch screen
extra shot every two seconds, reacts more quickly than There are two options The 39-point AF system The magnesium alloy Whether you’re
which is especially useful for before. If lighting conditions for burst shooting: six can mean the difference frame is protected reviewing images or
increasing your chances of change the camera is capable frames per second, or between a sharp against dust and water, using Live View, the
success when shooting fast- of responding rapidly, which three frames per image and a missed making it an excellent 3.2-inch LCD screen is
moving subjects such as sports is useful when moving from second in Quiet mode. opportunity. choice for outdoors. extremely good.
or wildlife. outside to indoors.
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Q&A
CAMERA SKILLS
Resetting your
folders can help
Can you
you organise
your images
recommend a
wildlife lens for the
Nikon D3100 for
£450 to £500?
Sean Roberts, via email
Chris says… Sean, wildlife

photography needs range
NIKOPEDIA
and speed in order to get

Looking to get the best from your video footage? Final Cut Pro X
some impressive images. is a video editing program that we’d recommend for Mac users
How do I reset my folders Within your budget the
on my Nikon D750?
best option for you might be
the Nikon AF-S 70-300mm
Is it possible to rotate a movie shot in
Bruce Templeton, via email f/4.5-5.6G IF-ED VR portrait orientation by a D800E?
(£420/$590). It offers an Eric Halcrow, via email
Chris says… Bruce, there’s an option within the Shooting impressive focal range,
Menu to reset the folder numbers. It’s within the Storage Vibration Reduction Chris says… There are a number of editing programs that
Folder option, and allows you to rename the folder. There’s technology and internal can rotate a video, such as Adobe Premiere and Final Cut, but
an option below that also enables you to set the first three focusing, making it an option the end result will be reduced in resolution to roughly a
characters of the file name, called File Naming. By using well worth exploring. Prime quarter of the usual 1920x1080 HD format. Because the
both of these together you can set your card before every lenses within the range display format of your television is landscape you’ll need to
shoot, allowing for the images to proceed to 999 before you’d want are far more adapt the video you’ve shot into that arrangement. The only
the folder is filled. If you’re using multiple cards or glancing expensive, and therefore other method is to introduce bars to the left and right of the
across a host of files trying to select a particular one, this you’d be better off aiming existing video, retaining all of the information on screen,
process can be hugely helpful. at a zoom option. but once again at a reduced resolution.
Q&A
Is there a more What is the best

affordable alternative resolution for a
to the Nikon GP-1A for slideshow involving
a Nikon D700? photos and videos?
Peter Bennett, via email Rud Lynge, Luxembourg
Chris says… The GP-1A GPS module is extremely useful for Chris says… As most modern
recording GPS information, but there are other options. The TVs will display 1920x1080 HD To display your photos on
TV it’s best to reduce the
Solmeta Geotagger Pro 2 (£170/$200) does a very good job resolution, and your video will resolution of the images
GEAR CRAFT
of tagging your images in a very similar manner to the GP-1A, most likely be recorded in that
and can be used on a wide variety of Nikon bodies. The other format, it’s best to use that as the end resolution. You can
option is to use a smartphone alongside an app like Motion X, import the images at a higher resolution, then use the Ken
then mark each point with the image number using the Burns effect, which zooms and pans across the still, to
smartphone. Both have benefits and, depending on whether The Nikon 70-300mm
emphasise detail. A package such as Adobe Premiere
or not you already own a smartphone, you can make your f/4.5-5.6 offers excellent Elements or Apple iMovie will be capable of producing a high-
decision based on price and/or convenience. range at an affordable price quality slideshow with as many effects or titles as you like.
Your Nikon D-SLR’s long I want to shoot Chris says… I think I may know what this is,
Ron. You need to check the Noise Reduction
for several seconds or longer. The camera
takes the first exposure, then takes a second
exposure noise reduction
feature will double the star trails, but my setting on your D3200’s Shooting menu. If ‘dark frame’ exposure of the same length
exposure time
D3200 takes 36 the noise reduction is turned on, then I think
you’ve found the cause of the problem.
which it can use as a reference image to
‘subtract’ any noise from the first.
seconds to get ready Nikon D-SLRs actually carry out two kinds I suspect the latter sort of noise reduction
for each 30-second of noise reduction. The first is high-ISO noise
reduction, which is designed to reduce the
is what’s interfering with your star trails. You
make a 30-second exposure, and the camera
exposure! ‘speckled’ effect you get at high ISOs. The is automatically taking a second ‘dark frame’
Ron Abbott, by email second is long exposure noise reduction, of the same exposure to use as a reference
which counteracts the random noise you frame. Try turning off the noise reduction to
sometimes get when the sensor is exposed see if that makes a difference to the process.

Q&A
CAMERA SKILLS
A propeller-driven aircraft can
make an eye-catching subject
ANSWERS
IN A FLASH!
Would you You replied to my email
recommend Adobe in January relating to the
GPS on my D5300. I
Lightroom 5 and downloaded and installed
Photoshop as a the assisted GPS file. It
work a treat.
package, or Nikon
NIKOPEDIA
Wayne Kerry, Sydney,
Capture NX2 and Australia
Chris says… That’s perfect
View NX2? news, Wayne.
Bill Beer, Lowestoft, UK
Chris says… The packages

Could give me some advice on photographing propeller- Can I use extension
are vastly different, and driven aircraft? I have a Nikon D5100 with a 55-80mm lens. tubes with DX lenses?
David Inman, Dumfries, UK
if you purely want to edit Chris Chapman, via email
photos, the comparison Chris says… There’s
between Lightroom and Chris says… Chris, it is possible to freeze the motion of a propeller if you set a very high no reason you can’t use
Capture NX2 is more shutter speed, but this can result in the blades, and therefore your image, looking quite extension tubes with a DX
pertinent. Both offer RAW static. The best path is to opt for a shutter speed of around 1/125 to 1/250 sec, which will body and lens. Extension
processing and correction provide a degree of motion blur to the propellers without sacrificing sharpness. Then it’s tubes don’t suffer from
tools, so are perfect for just a question of opting for the best aperture to maintain a bright, balanced exposure. the same issues as tele-
most photographers. We’re If you’re not quite au fait with manual mode on your D-SLR yet, the best path is to use converters, which can’t be
partial to both programs in shutter-priority mode and let the camera work out the aperture. It may also be worth attached to DX lenses (the
Q&A
the N-Photo office, but find switching to fewer focus points, such as just the centre one, so a passing obstruction rear element of a DX lens will
Lightroom more versatile won’t cause the autofocus system to become confused. hit the front element.
and powerful than NX2.
HELP ME CHOOSE...
NIKON D810 VS NIKON D4

Key differences Nikon D810 (body only) £2350/$2997
We help reader Jason Glenister
choose between a D810 and a D4…
Nikon D4 (body only) £3499/$5140
GEAR CRAFT
01 A weight of difference 03 A solid base
Surprisingly for a full-frame Both models benefit from Pro-friendly 36.3MP FX Hard to find 11fps burst rate
body, the Nikon D810 weighs a sealed body, preventing Fitting between the D750 format sensor The Nikon D4 has been This speed-focused
under a kilogram. At 880g it’s both water and dust from and D4s in Nikon’s range, With the highest pixel superseded by the D4S, model has a high burst
the Nikon D810 is more of a count of any current which is very similar in rate and wide ISO range,
far lighter than the 1.34kg D4, infiltrating. This makes both professional-level model terms of specs, and sits at allowing it to capture the
Nikon, the D810 offers an
as well as far smaller, by 10 to the D4 and D810 excellent than those below it. incredible level of detail. the top of the SLR pyramid. action with ease.
20mm all round. This makes choices for shooting anything
the D810 far more portable and outdoors. This, combined with
a preferred option when you’re the reduced bulk of the D810,
shooting subjects that require means that even though the D4
you to do a lot of walking. may look more rugged, both are
equally ready for action.
02 Higher native resolution
The D810’s 36.3-megapixel 04 The price is right
resolution is incredibly The two-year age difference

impressive, giving it over double between the two models
the pixel count of the D4. This favours the much newer D810.
may not be hugely beneficial for As a result, many of the latter’s
action, as there are more pixels specs are very similar, if not No Optical Low High-res screen 16.2MP sensor Robust build
Pass filter Thanks to the 1,229,000- Having a comparatively The weather-sealed
for the subject to move across, superior, to those of the D4, By removing the optical dot, 3.2-inch LCD, images low pixel count means body of the D4 is
requiring a faster shutter speed, making the £1000/$1400-plus low pass filter, the can be composed and the D4 can take more ready for anything,
but landscape, seascape and difference hard to justify, highest possible level reviewed in the best images than the D810 indoors or out, as is the
wedding photographers will especially as the D4 is of detail is preserved. possible level of detail. without filling the buffer. 400,000-cycle shutter.
see serious gains from this. quite hard to source new.
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Page 154
NIKOPEDIA
Q&A
GEAR CRAFT
Page 166

CAMERA SKILLS
Gear craft
Page 168 Magnifying your subject .................................150
Reducing glare .....................................................152
Telephoto flowers ..............................................154
NIKOPEDIA
Environmental portraits ................................156
Self-portraits ........................................................158
Soft-focus portraits ..........................................160
Low-angle shooting ..........................................162
Foreground interest .........................................164
Underwater photography ..............................166
Birds in flight ........................................................168
Painting with light .............................................170
Q&A
Successful silhouettes ...................................172
The histogram...................................................... 174
Making a softbox.................................................176
Neutralising orange backgrounds ............178
Macro lighting ......................................................180
Camera user modes..........................................182
Lighting with snoots.........................................184
GEAR CRAFT
Tilt-shift effects..................................................186
Tethered shooting..............................................188
Page 178 Page 184
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CAMERA SKILLS
NIKOPEDIA
PROJECT ONE CLOSE-UP FILTERS
Magnify your subject

Want a lightweight, low-cost way of getting in really close for macro-style
pictures? A screw-in close-up attachment may be just what you’re after
GEAR CRAFT
There are lots of ways in which glasses. This type of filter is available resulting magnification (a +2 filter
THE MISSION you can get your SLR closer to for most square filter systems (such used with a +4 filter gives you a +6
■ Get macro-style
the subject, so that small areas look as Cokin), but round screw types are diopter setup, for example).
close-ups on a budget
big in the image. The most common more common. The optical quality of these filters is
TIME NEEDED solution is to use a macro lens – like Close-up filters are available in not as high as a macro lens – you tend
■ 20 minutes those tested in the next chapter. different strengths, measured in to get more softening at the edges
However, this means buying a new diopters. The higher the number, the and more colour fringing. However,
SKILL LEVEL lens, and having another bulky thing higher the magnification, and the they are more than capable of giving
■ Anyone can do it
to carry around with you, just in case. closer the minimum focus of the lens you a different view of a miniature
■ Some tricky aspects
A less expensive, and less bulky, becomes. These lenses are often sold world. They can provide record shots
■ Advanced technique
solution is a close-up lens (also known in sets with a +1, +2 and +4 diopter lens of stamps, coins and jewellery, for
KIT NEEDED as a close-up filter). This attaches to in a convenient case. Two or more instance – but can be used for artistic
■ Telephoto zoom lens the front of an existing lens, and filters can be combined to increase shots that show texture and detail
■ Close-up diopter works in the same way as a magnification – you just add the that more distant shots fail to show.
lens attachments magnifying glass or a pair of reading diopter values together to get the With a close-up filter, your focusing
range becomes very limited (you can
The effect of the magnification is much greater with a no longer focus on distant subjects).
However, you can still use autofocus,
telephoto zoom than with a standard lens, so a focal length of and because there’s no light loss,
over 100mm is recommended, and one of 200mm is ideal automatic exposure still works.
150 The Ultimate Nikon SLR Handbook: Volume 3 2015 Watch the video at http://bit.ly/PMZ33_project1
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Get closer with these filter-like magnifiers
How to get the most out of these ultra-portable alternatives to a macro lens
NIKOPEDIA
01 Magnifying glass for your lens 02 Buy the set
A close-up lens screws into the filter thread of your lens The three lenses you get in close-up sets can be combined ONE SIZE FITS ALL!
(or slots into your square filter holder). The effect of the to give you more than just three levels of magnification.
■ Close-up filters are usually
magnification is much greater with a telephoto zoom than The cost of a set increases with its diameter. We used a
the round type that screw
it is with a standard one, so a focal length of over 100mm is 72mm set from Kood, costing £80 – a 52mm set costs £27.
straight on the filter ring
recommended, and one of 200mm is ideal. Other manufacturers include Hoya, Tiffen and B+W
of your lens (rather than
the rectangular filters that
slot into a special adaptor).
Because of this you need to
make sure that you buy a
filter to match the diameter
Q&A
of the lens you are likely to
use it with. But what do you
do if you have more than one
lens – with different filter
thread sizes? The answer is
to buy close-up filters to fit
your widest lens – and then
use stepping rings. These
03 Zoom in for maximum effect 04 Focus in on the detail simple metal adaptors
Picking the right filter, or combination of filters, to get the As with all close-ups, depth of field gets more limited convert the filter thread size
crop that you want is usually a matter of trial and error. the closer you get to the subject, and can be as little as a of your lens – from 77mm
The focus range with the filter in place is limited to a few couple of millimetres. Use a tripod for stability, and if you down to 67mm, say. SRB do
inches at best, and the minimum focusing decreases as the need to ensure as much of the image is as sharp as possible, a full range for £4.50/$6.82
GEAR CRAFT
number of diopters applied increases. keep the camera perpendicular to the face of the subject. each (www.srb-griturn.com).
TOP TIPS Three close-up filters – seven different magnifications

Using a set of +1, +2, and +3 diopter close-up lenses separately and in combination enables you to control the size
No filter +1 diopter +2 diopter +3 diopter +4 diopter +5 diopter +6 diopter +7 diopter

24-120mm at its Gives around a Image is nearly To get a +3 diopter If you buy just one To get a +5 diopter To get a +6 diopter All three lenses
minimum focus 40% boost in twice the size as lens you screw a lens rather than a lens you screw lens you screw together: almost
distance of 0.5m. image size. with zoom alone. +1 onto a +2 . set, get this one . your +4 onto a +1. your +4 onto a +2. life-size repro.
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Q&A free ebooks ==> www.ebook77No7.co m
polariser
With polariser
PROJECT TWO REDUCING GLARE
Shoot through glass

Did you know that polarising filters do more than just darken blue skies?
You can also use them to cut through reflections
GEAR CRAFT
Polarising filters are often used were fine with film cameras, they’re multi-selector to choose the best
THE MISSION to enhance blue skies, but this is not suitable for digital SLRs because focus point within the scene.
■ Get glare-free shots
only one of their uses. The light they interfere with the autofocus Make sure the camera isn’t focusing
through glass
reflected from smooth and glossy systems. Instead, you’ll need a newer on the reflection in the glass rather
TIME NEEDED surfaces is polarised too, and you can (and more expensive) ‘circular’ than the object behind it, too. Your
■ 30 minutes use a filter to cut through these polariser. These have the same effect, best chance of avoiding this is to make
reflections to show what’s beneath. but use a more complex optical design sure you set the focus when the
SKILL LEVEL This is really useful if you need to to prevent autofocus issues. polarising effect is strongest, not
shoot objects that are displayed There are a few things to watch out while you can see glare on the glass.
behind glass, so we visited the Victoria for when using polarisers. The image You’ll find that there are some
Art Gallery in Bath to try this out. in the viewfinder will be darker for a reflections that are just too strong to
KIT NEEDED Polarising filters come in different start, making it more difficult to judge get rid of completely, such as bright
■ Nikon D-SLR types, and it’s important to get the the focus manually. Stick to light sources, or patterns of sunlight
■ Tripod ■ Kit zoom right one. You can get older, simpler autofocus, set the camera to and shade. The one thing you won’t be
■ Circular polariser ‘linear’ polarisers, but while these single-point AF mode, and use the able to eradicate is reflections in
mirrors. Polarisers are only effective
The light reflected from smooth and glossy surfaces is on light glancing off surfaces at an
angle. However, follow our advice and
‘polarised’, and you can use a polarising filter to cut through you’ll find avoiding reflections when
these reflections to show what’s beneath taking photos is a piece of cake.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Cut the pane of reflections!
How to shoot clearly through glass with the aid of a polarising filter
NIKOPEDIA
01 Use a tripod 02 Find the angle
Polarisers cut down the light entering the lens by up to two Turn the polarising filter while watching the image in the
stops. If shooting indoors, the light levels will already be viewfinder. You’ll see the reflections in the glass grow
low, so exposure times will make handheld photography
difficult. Using a tripod lets you adjust the angle of the
fainter and disappear altogether. Tiny adjustments make
all the difference, and it’s worth taking a few moments to
ROUND OR
polariser precisely, without the risk of moving the camera. check you’ve found the optimum angle of rotation. SQUARE?
■ Don’t confuse ‘linear’ and
‘circular’ with the shape
of the filter. Polarising
filters are always round in
shape, but while you can
Q&A
get polarisers that screw
directly into your lens’s filter
thread, they’re also available
for the square filter systems
made by Lee, Cokin, and
others. They slide into one of
the filter holder’s slots, and
can be rotated independently
03 Move further away 04 Shooting handheld of the holder (and any other
If you can’t get rid of all the reflections, you may be too If you can’t use a tripod, increase the ISO to prevent camera filters). This is popular with
close while using a wide zoom setting. The reflections will shake. Your Nikon’s Auto ISO function is best for this landscape photographers,
be coming from a wide range of angles, and the filter won’t because it sets the ISO automatically to achieve a who often use a polarising
be able to counteract them all. Move further away and use minimum shutter speed. We’ve chosen a speed of 1/40 sec filter and graduated filters at
GEAR CRAFT
a longer zoom setting so the reflections are easier to subdue. here, and the camera’s set the ISO to 1250 to allow this. the same time.
TOP TIPS Top 5 polariser pointers

Tricks to make sure you get the most from your polarising filter…
01 Mind your feet 03 Blue-sky thinking 05 Slow down
You can get reflections Polarising filters are great A polariser’s 2-3EV light
when you shoot down for making skies bluer, but decrease helps you to
through glass. Here the watch out if you’re using a blur moving water to
polariser has cut through wide-angle because the create a stronger sense
the reflection of the floor. With polariser No polariser effect is uneven. of movement.
02 Shop windows 04 Richer foliage
You can snap some great The glossy surface of
shots through shop leaves reflects light. A
windows if you use a polariser cuts through the
polarising filter to cut sheen and delivers rich
With polariser No polariser through the glare. greens in your landscapes.
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CAMERA SKILLS
NIKOPEDIA
PROJECT THREE TELEPHOTO FLOWERS
Fill the frame with flowers!

Don’t just reach for your macro lens when out in the garden. You’ll get more colourful
shots if you play the long game, and shoot the beds and borders with a telephoto zoom
GEAR CRAFT
You can get glorious shots of beauty of a telephoto lens is that or 300mm will give you more options
THE MISSION gardens at any time of year, but it allows you to shoot the border because you’ll be able to use a wider
■ Compress
most look at their best in the summer. from further away, and this changes range of shooting positions.
perspective when
So, how do you get a shot that does the perspective so that clumps of With a telephoto lens, it will be
shooting floral borders
the mass of colours in those bright different flowers from the camera impossible to get every petal in focus,
TIME NEEDED borders justice? appear closer together. They’re so don’t even try! Instead, you need
■ 1 hour A standard approach to shooting compressed together more tightly in to aim to get one bloom sharp in the
flowers is to reach for the macro lens. the frame, and this means that you shot and use this as your focal point,
SKILL LEVEL But this approach shows the beauty can really start packing the colour and then let all the others in front
of individual blooms, not of the whole into your picture. and behind go gently out of focus.
bed. Instead, you could shoot with You don’t need a particularly long You’ll therefore need to set your focus
a wide zoom setting, and show the telephoto to achieve this effect – a carefully, and choose an aperture that
KIT NEEDED planting as the gardener planned it. 100mm setting on a DX camera is allows you to create a gradated blur
■ Nikon D-SLR However, a more exciting solution more than sufficient to get going. But across the frame.
■ Telephoto zoom is to go long and use a telephoto. The a lens with a zoom range up to 200mm Flowers wave in the slightest
breeze, so you’ll need to set a fairly
You don’t need a particularly long telephoto – a 100mm fast shutter speed anyway, so our
advice is to forget the tripod and shoot
setting on a DX camera is more than sufficient. But a zoom range handheld. Follow our simple steps to
up to 200mm or 300mm will give you more options see how it’s done.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Compress perspective using a telephoto lens
Run for the border and take a long view of the flowers before the summer comes to an end!
DIFFUSE THE LIGHT

■ The best time for shooting
flowers is with a little cloud
NIKOPEDIA
cover – wait for a bright day,
and shoot when the sun
disappears briefly behind a
white cloud. This will give
semi-diffuse lighting, and
01 A narrow view 02 Pick a flower detail in the flowers will
The longer the lens you use, the further away you stand Pick one flower to focus on so this appears sharp and not be lost in shadow. If the
– so this affects the perspective of the flowers. Even a can act as a focal point. In the custom functions for sun is out, you can still take
modest telephoto lets you pack blooms tighter into the autofocus, set the AF Area mode to Single Point. Choose pictures, but concentrate on
frame. And small changes in camera position will allow the AF point you use by half-pressing the trigger and close-ups and get someone
you to change which blooms appear in the background. then using the cursor keys on the back of the camera. to hold a diffuser, to mimic
the effect of a passing cloud!
Q&A
QUICK TIP!
Don’t be afraid
to squa t down or
03 Get up to speed 04 Exposure compensation kneel - a lower
The key thing about the exposure is to ensure that the Check the exposure after each shot, and use exposure poin t of view will
shutter speed is fast enough to avoid camera shake, and compensation to brighten or darken the shot. With white
keep the flower that is in focus as sharp as possible. Use flowers expect to use around +1.0 EV of compensation. make the band s
of colours appea r
GEAR CRAFT
aperture priority, altering the aperture and ISO values With dark backgrounds you may well need to go the other
until you get a shutter speed of 1/500 sec or faster. way, with exposure compensation set to around -1.0 EV. narrower
TOP TIPS Fantastic floral photos

More blooming marvellous ideas for improving your garden photography
01 Hold it steady 03 Avoid windy days 05 Reflections
To minimise any chance of The smallest breeze will Water features can add
camera shake, cradle the make some flowers shake more colour to your shots.
lens with your left hand, more than a jelly on a plate. Frame up the flowers and
and fire the shutter as you Choose a wind-free day if shrubs so that their
gently breathe out. you have the option. reflections appear in shot.
02 Hard landscaping 04 Watch your back
It is not just the flowers Pay close attention to the
that make a garden. Take backgrounds in your shots.
shots that include the Just because they are out
paths, statues and other of focus, doesn’t mean they
man-made features too. aren’t distracting!
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PROJECT FOUR REPORTAGE
Go on people safari
Break out of the stuffy studio to take reportage-style shots of people going about
their everyday business. It’s easy if you follow our guide to environmental portraits
GEAR CRAFT
Add a modern twist to your you’re ever asked to photograph a an ideal place to practise taking
THE MISSION portrait photography by getting business, or if you just want to add portraits because there’s plenty going
Photograph people in
out of the studio and into the big wide something fresh to your portrait work. on and the background is attractive
their everyday settings
world. Environmental portraits are The other great advantage to this and provides a narrative.
TIME NEEDED shots of people taken in their natural type of portrait is that your subject The key to getting good
■ 3 hours surroundings, the places where they will be far more relaxed in their environmental portraits right is
live, work or play. This documentary- everyday surroundings, so it’s easier finding a good balance between your
SKILL LEVEL style portrait photography is used by to get a natural pose from your model. subject and their backgrounds.
magazines and newspapers because It’s easy to take portraits with impact Remember that the person is still the
including background detail and with just your Nikon D-SLR, kit lens focus of the shot, and the
elements of someone’s environment and a bit of patience, and we’re going surroundings are just there to add
KIT NEEDED tells more of their story than a plain to show you how to do it. interest and hint at the subject’s
■ D-SLR ■ 18-55mm portrait shot. As well as dipping a toe We headed to Society Café in Bath personality and life.
kit lens ■ 10-20mm into documentary photography, to snap the coffee shop’s staff at Follow our guide for tips on how to
wide-angle lens environmental portraits are ideal if work. A busy environment like this is use props and different setups to build
a great collection of portraits, how to
A great advantage to this type of portrait is that your subject vary your shots with wide-angle
lenses and monochrome effects, and
will be far more relaxed in their everyday surroundings, so it’s how to pick the right settings for great
easier to get a natural pose from your model images every time.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Take great environmental portraits GET YOUR
Don’t expect to leap in and get a perfect shot straight away – it will SETTINGS RIGHT
take time for your subjects to forget you’re there ■ Switch to ‘A’ mode
You’ll need to shoot handheld
01 Get candid and be prepared to move
Warm up by snapping quickly to grab great shots in
some candid shots of a busy working environment,
your subject going so shooting in manual mode
about their normal might not be the best choice.
routine – here, barista Switch to A mode so you’ll
NIKOPEDIA
Ash is making coffee. have control over your
Try not to be too aperture, but the camera will
intrusive – the less take care of other settings
your subject notices for you.
you’re there, the
more relaxed they’ll
feel. It takes people a
few minutes to stop 04 Perfectly posed
feeling awkward in When you’ve taken a few candid shots, ask your subject to
front of a camera. pose for you. Position them in their surroundings in a way
that keeps them in the foreground as the main focus of the
shot and keep chatting to them while you snap to keep their
face animated and natural. If the background feels too ■ Bump up your ISO
busy, dial down to an f-stop like f/3.5 to blur it. We’re photographing
indoors, so a higher ISO like
1600 lets us compensate for
the low light. The final
Q&A
images may be grainier, but
it’s worth it for the freedom
to move about and get
photos that are reliably
sharp each time.
02 Add props
Add a prop to show more personality and to give your
subject something to pose with, like Katie’s cake here. This
is also a great solution if you’re working with an uninspiring
background; tools of the trade or even pieces of uniform, 05 Widen up
GEAR CRAFT
such as a chef’s hat, instantly add interest and detail. For a different look, whip a wide-angle lens like our Sigma
10-20mm out of your camera bag and try including more of ■ Pick a narrow aperture
the surroundings in the shot. This is an especially effective You might normally use a
trick if there are multiple people milling around because super-shallow depth of field
you’ll be able to capture them all in one photo. in portraiture, but when
you’re taking environmental
06 Find the light portraits you need to avoid
knocking the background out
If you’re shooting indoors,
of focus completely. If you’re
like us, position your
using your kit lens, choosing
subject near a natural
a narrow aperture such as f/8
light source. We asked
will allow more of the
barista Alistair to pose

surroundings to stand out
next to the café’s window
and tell their part of the story.
for a brighter final
portrait, but another
03 Simple monochrome option in low light is to
Further enhance the reportage feel by converting your ask a friend to use a
photo to monochrome in post-production. Black-and-white golden reflector to
has timeless appeal and is also a great way to make a busy bounce more light onto
shot like this one more restful to look at. your subject’s face.
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CAMERA SKILLS
NIKOPEDIA
PROJECT FIVE SELF-PORTRAITS
Face up to the camera

Master self-portraits and take classic headshots, silly
Facebook snaps and more, with no assistant needed
GEAR CRAFT
Self-portrait photos, or ‘selfies’, produced on a daguerreotype plate in to compose your photos carefully in
THE MISSION are huge on Facebook, Twitter 1839, was of early photographer advance and have freedom to move
Master self-portraits
and Instagram. Sharing what you’re Robert Cornelius’ own (rather about in front of the camera. When it
TIME NEEDED doing and where you’ve been with your grumpy-looking) face. comes to taking a shot from a
■ 3 hours friends and followers has become fun, Most photography students are now distance, a wireless remote shutter
easy and virtually instantaneous. regularly given self-portrait tasks and release makes focusing and shooting
SKILL LEVEL But self-portraits don’t have to be course work because it’s a brilliant a lot easier. Don’t worry too much if
shaky instant shots taken with a way for them to hone their skills. It you haven’t got one, though – we’ve
smartphone. Since the earliest days of can seem a little intimidating to plan got all the information on how to take
photography, self-portraits have been and take a shot of yourself, but our six shots with a self-timer or
KIT NEEDED taken seriously as a way of expressing simple, easy-to-set-up self-portraits intervalometer instead.
■ Nikon D-SLR a photographer’s creativity, improving are a great way to get started. Ready to go to Selfie School?
■ Kit lens ■ Tripod camera skills and practising You don’t need more kit than your We’re going to look at how to set up a
■ Wide-angle lens techniques. In fact, one of the first D-SLR, a kit lens and a tripod, but the simple monochrome headshot that’s
■ Wireless remote photos ever taken of a human, latter is essential because you’ll need perfect for a CV, some silly ideas for
Facebook profiles that are a cut above
Since the earliest days of photography, self-portraits have the rest, and some more
unconventional self-portraits that
been taken seriously as a way of expressing a photographer’s play with props, weird angles and
creativity, improving camera skills and practising techniques other creative ideas.
GEAR CRAFT
CAMERA SKILLS
SIX VARIATIONS Self portraits for every occasion THREE GREAT
Different photos suit different purposes, and you wouldn’t want the same picture WAYS TO TAKE
on your CV and your Facebook page, so have a go at all six of these styles THE SHOT
01 Classic ■ With a remote trigger
headshot The easiest way to take shots

of yourself with your camera
A simple, formal
is with a wireless remote like
monochrome
this Nikon WR-A10. First, plug
headshot is a really
the radio receiver into your
NIKOPEDIA
useful photo to have,
camera. Hold the remote out
and it makes the
of sight and half-press the
perfect addition to a
remote’s
CV, LinkedIn profile or
shutter
a business website.
button to
Sit or stand in front of
a plain wall with your 02 Go wide focus. Press fully
to take the shot.
camera on a tripod in Pep up your Facebook profile with a fun, cartoony, wide-angle
front of you. Siân shot. You could use a kit lens for this, but if you can get your
used a handheld hands on a wide-angle lens the distortion will be much more ■ Use interval timer mode
Manfrotto LED light to illuminate one side of her face, but pronounced. You can take the shot handheld because the Many Nikon models offer an
natural light from a window would work just as well. camera needs to be close to your face for the effect to work. interval timer mode in their
Shooting menu, enabling you
04 Add props to set up your camera to take
a shot every second or two.
Raid the fancy dress
You need to focus manually
box! The beauty of
on where you’ll be standing,
self-portraits is that
Q&A
so first set up the shot
you’re completely in
exactly as you want, using an
charge, and you can
object to stand in for you.
be as creative as your
Pick an interval time, select
imagination allows.
Now and move in front of
Think about how you
your camera.
want to express
Change your
your personality
pose slightly in
– perhaps you could
03 Shoot your reflection embody a favourite
every shot and
you’re far more
Shots taken in a mirror are a great way for photographers to film or hobby. Face
likely to end up
snap self-portraits because you can show off your Nikon! paints, hats and
with one that
Plus, focusing and composition are simple when you can see comedy glasses are
you like.
GEAR CRAFT
what you’re shooting. Flip the final image horizontally in all fantastic for transforming how you look and adding an
post-processing so that the Nikon logo reads the right way. element of humour to an otherwise plain selfie.
■ Try the self timer
05 Head to the All Nikons have a self-timer

delay mode in the Setup
great outdoors menu. Select how many
Get brave and head seconds you want to elapse
outdoors to take a before your D-SLR takes a
full-length natural shot; five or ten are usually
photo in a park or enough to get into position.
garden. It can feel Flick from single shot mode
daunting to snap to self-timer mode on the
yourself in public, so drive dial, hit

take a friend for moral the shutter
support. Don’t let them button and get
press the shutter 06 No face needed into position
button though – if they Who says a self-portrait has to include your head? Try before your
do, it’s no longer a shooting just one part of your body. This is a great technique camera fires.
self-portrait. Try if you’re uncomfortable standing in front of the lens instead Some models
different poses, and lean towards the camera and angle of behind it. Hands are expressive, or you could take a even let you take multiple
your body sideways for a natural, relaxed portrait. close-up of one eye, or a shot of your feet in the environment. shots in one go.
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CAMERA SKILLS
NIKOPEDIA
PROJECT SIX SOFT FOCUS
Soften your focus

Why plod your way through Photoshop to create a
digital soft-focus effect when it’s so easy to do it for real?
GEAR CRAFT
It’s possible to buy all manner of the lens and extend down onto the apertures, but if there are any experts
THE MISSION soft-focus filter attachments barrel. Fix it down with an elastic band in optics out there who know better,
■ Create a soft-focus
for your camera. Nikon even makes a and start shooting. You’ll need to get please let us know!
look on a shoestring
lens that allows you to defocus areas tights of the right thickness and take There are two reasons we really like
TIME NEEDED of a shot. But for this project we’re the colour into account, and be careful this effect. First, there’s no need to
■ 15 minutes using a cheeky old-fashioned not to ladder the fabric, but that really make any special adjustments to the
technique that works amazingly well. is all there is to it. camera settings – you can just fit the
SKILL LEVEL All you need is a pair of tights or The fine net pattern of the fabric tights and shoot normally. The only
stockings. You could use ones that the produces the soft-focus effect settings we changed were the sort
owner doesn’t want any more, because the image is formed from the you’d use for portrait photography
although they cost so little to buy that light that passes through the tiny anyway. Second, you can see just how
KIT NEEDED we’d recommend you go out and shop gaps between the threads. This may your pictures will come out in the
■ Kit lens ■ Scissors for a new pair. be related to the diffraction viewfinder as you shoot, and on the
■ 10-40 denier tights Take a pair of scissors, and carefully (softening) effects you get when LCD display immediately afterwards.
■ Elastic band cut out an area large enough to cover shooting with extremely narrow Photoshop has its advantages, of
course, but it’s really useful to be able
The fine net pattern of the fabric is what produces the to see these effects as you go along so
that you can modify your settings and
soft-focus effect because the image is formed from the light your composition to get the best
that passes through the tiny gaps between the threads possible results.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP The stocking truth
You can get amazing results using this cheeky professional trick
NIKOPEDIA
01 Advice from an expert 02 A bit of a stretch
Our model Sam helped us pick out suitable hosiery for our You need to cut out a section from the tights which is at
soft-focus effect. The colour makes a difference, of course, least twice the size of the lens, so that you can fold it back
but the key factor is the thickness, or the ‘denier’ value. We along the barrel and secure it with an elastic band. An
settled on 15-denier tights, which gave the perfect soft- extra pair of hands is useful! Once the elastic band is in
focus look but still showed enough detail in Sam’s features. place, pull on the edges to smooth out the wrinkles.
SHOOTING
SETTINGS
■To make the most of the
hazy, soft-focus effect we set
the camera to A, or aperture-
Q&A
priority, mode and set our
18-70mm lens to its longest
focal length and maximum
aperture (f/4.5 at 70mm).
This gives shallow depth of
field so that the background
is thrown out of focus. We
used Auto White Balance
03 Shades of grey 04 Smile please because our tights were a
Our tights are a charcoal grey colour. The shade of grey Now we just shoot as normal. These 15 denier tights are neutral colour. If you use
won’t make any difference to the pictures – darker tones quite thin, and the autofocus on our D300S copes perfectly coloured tights, set a
will reduce the exposure, but the camera’s exposure meter well even though the image is a lot hazier. Normal portrait manual white balance preset
will compensate automatically. Different-coloured tights photography rules still apply: use a longer lens for a more to stop the camera trying to
GEAR CRAFT
will affect the colour balance, though. flattering perspective, and always focus on the eyes. ‘correct’ the tint.
TOP TIPS Other soft-focus solutions

More ways to add that romantic, hazy look to your portraits
01 Net effects 03 Smear it on 05 Bright Spark
Lee’s black or white Net Take an old UV filter and You can change the planes
filters (£42/$72) have a smear it with petroleum of focus in your pictures
clear centre spot and jelly – try using more at the with the simple squeeze-
increase the shadow or edges than the centre. and-skew Lensbaby Spark
highlight contrast. (£69/$80).
02 Screw-on diffuser 04 Defocus control
Hoya’s Diffuser filters It’s not a soft-focus lens as
(£35/$23 for 67mm version) such, but Nikon’s old but
are designed specifically fabulous 135mm f/2 DC
for taking soft-focus (£1050/$1300) creates
portrait photographs. controllable bokeh.
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GEAR CRAFT
CAMERA SKILLS
PROJECT SEVEN LOW ANGLES
Get down
and dirty
NIKOPEDIA
Get a unique view of the world by seeing

it from a worm’s-eye perspective
Getting down as low as possible
THE MISSION when you shoot gives a slightly
■ Experiment with a
surreal ‘worm’s-eye view’ of the world.
worm’s-eye view effect
It’s a quick and easy way liven up your
TIME NEEDED shots of flowers, buildings and even
■ 1 hour people. You’ll need to lie down for this
technique. It’s pretty difficult to
SKILL LEVEL frame up a shot with the eye-level
viewfinder when you’re flat on the
ground, so switch to Live View (if you
have it), so that you can use the main
KIT NEEDED
Q&A
LCD to compose the shot accurately.

■ Nikon D-SLR If you have a D5100, D5200, or D5300
■ Telephoto or you can additionally use the flip-out
wide-angle lens screen to make it easier.
A telephoto zoom lens will let you
create an attractive shallow depth of
field. Switch to A (aperture-priority)
mode so that you can concentrate on
getting a wide aperture while your
camera adjusts everything else.
STEP BY STEP On your belly, worm!

GEAR CRAFT
Flowers make perfect subjects for this technique because the viewer expects to see them from above
03 Aim
straight up
Another method for
shooting a
worm’s-eye view
photo is by setting
the self timer and
placing your
camera lens-up on
01 Aim up from lower ground 02 Go wide the ground. This
Clumps of flowers are perfect for a attempting a Once you’ve mastered composing and shooting technique works
worm’s-eye effect. Look for lower ground to from a worm’s-eye view using a telephoto lens, really well with
position yourself on, because lying a little below switch to a wide-angle one, like our Tokina canopies of trees
the flowers will make composition easier. Make 12-24mm, for a different effect. When it’s used (see main image). If you’re
sure you get your camera right under your close up, a wide-angle lens will distort struggling to get the shot to work, try lying on
subject and shoot at an upwards angle. perspective for an even more dramatic look. your back and shooting upwards.
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CAMERA SKILLS
NIKOPEDIA
Q&A free ebooks ==> www.ebook777.coBem
fore
After
PROJECT EIGHT FOREGROUND INTEREST
Improve your landscapes

Do your wide-angle landscape shots look lacklustre? Chances are you aren’t paying enough
attention to the foreground. Here’s how to solve this compositional conundrum…
GEAR CRAFT
Landscape photography is all another option – search out a vantage be framed to fill gaps and create a
THE MISSION about finding incredible views. point that means you can include stronger overall composition.
■ Improve your
Spot one and your natural inclination something interesting in the bottom There’s no need for the object to
landscape photos
is probably to zoom out as far as you part of the picture. be big. An interestingly shaped rock
TIME NEEDED can, or fit a wide-angle lens to squeeze With wide landscapes, you can can give you all the interest you need,
■ 1 hour the whole glorious scene into one often move quite a long way without while a wild flower can be engineered
image. The trouble with this approach affecting how the distant view to fill the empty space in the frame,
SKILL LEVEL is that your compositions can end up appears in the frame. This means you even if it’s relatively small.
looking rather empty – the bottom have plenty of opportunity to hunt The secret to making the most of
half of the picture is likely to have out the much-needed foreground smaller foreground fillers is to get as
little of interest to look at. interest. Take a good walk around close to them as possible so you can
KIT NEEDED You can, of course, crop out the and s earch out the possibilities – farm use perspective to your advantage,
■ Kit lens or a lens with acres of grass, sand or bush, leaving gates, weathered trees and dry-stone making a stone or flower appear
a wide-angle setting yourself with the more interesting walls are perfect examples of what larger in the frame. To do this, get low
■ Tripod (optional) top half of the frame. But there’s you’re looking for, because they can – you might need to lie on the ground.
You now need to make sure your
An interestingly shaped rock can give you all the interest new foreground and the view on the
horizon are both in sharp focus. Follow
you need, while a wild flower can be engineered to fill the the steps here, and on your free video
empty space in the frame, even if it’s relatively small guide, to see how it’s done.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Find and shoot the perfect scene
Discover what to look for and how to capture a landscape full of interest
NIKOPEDIA
01 Explore the scene 02 Get close to nature
Finding good foreground interest means doing a bit of Unless your foreground object is large, you’ll need to get
legwork! Don’t settle for the first spot where you find a close to it if it’s going to fill enough of the photo to make
clear view – just think of this as the backdrop for your shot. an impact. Get down low so you can use perspective to
You now need to look around for a suitable foreground that ensure that your foreground subject is large enough. Use
will work well and fill the bottom half of the frame. a t ripod so you can check and correct your framing.
WHATEVER
Q&A
THE WEATHER…
■ Don’t let the weather stop
you shooting! A grey sky
might make pictures look
drab if you shoot in colour,
but overcast conditions can
often create the best black-
03 Add depth to focus 04 Stay sharp and-white pictures. This is
A tripod will enable you to choose an aperture and ISO Your aperture should give you enough depth of field to particularly true if there’s
to g et the best results. Set the ISO to about 100 and then make everything in the frame look sharp. However, to plenty of detail in the cloud
use aperture priority (A) mode to set a narrow aperture of maximise the depth, focus on a spot just behind your cover, as on the day we went
GEAR CRAFT
about f/22. This might mean a slow shutter speed, but this foreground subject. You can check the sharpness by to the Mendips for the shots
won’t be an issue because the camera is stable. reviewing the image and zooming into it on-screen. shown on these pages.
TOP TIPS Filling the foreground

Create a portfolio of shots from one location using different foreground elements
01 Natural frame 03 Tone and texture 05 Go long
Overhanging branches Search for clumps of If you can’t find a suitable
or a break in a hedge can flowers that can add a foreground, use a longer
create a natural window splash of colour. If you’re lens instead of a wide-
to frame the subject and working in mono, look for angle, and pick out detail
add foreground interest. textures and patterns. from the whole view.
02 Man-made objects 04 Look for lines
Stiles, farm gates and Paths or walls can be shot
benches can be very so they lead across the
eye-catching, particularly frame. These are visually
if they’re in-keeping with intriguing, but you’ll need
the surroundings. to get in close to them.
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CAMERA SKILLS
NIKOPEDIA
PROJECT NINE UNDERWATER
Take your SLR for a dip

Discover how to photograph a sub-aqua landscape without
spending a fortune on an underwater housing or camera
GEAR CRAFT
Taking your camera underwater that you can get results where you
THE MISSION can give you a completely new have a view both of the landscape and
■ To take frog’s-eye
perspective on the landscape, but it what’s lying beneath the water.
view landscape shots
would normally involve buying an This technique works best when you
TIME NEEDED expensive housing or waterproof use a wide-angle lens. You’ll also need
■ 30 minutes camera. This isn’t really a viable to set the camera to manual to get
option if you just want to have a go at consistent results. Once the camera is
SKILL LEVEL shooting underwater images, so here’s in the fish tank and the tank is
a low-cost, do-it-yourself alternative. submerged in the water you’ll have to
Putting your camera inside a take plenty of photographs from
watertight fish tank and using this as slightly different positions because
KIT NEEDED a waterproof housing may get you you won’t be able to see the viewfinder
■ Nikon D-SLR some odd looks, and it’s not for the or screen to compose your shot unless
■ Remote release faint-hearted. However, with a bit of you have a flip-out screen.
■ Fish tank care and preparation you can get Finally, remember to check (and
amazing images simply by shooting double check!) that your camera is
with the camera half-submerged in going to be safe once you get in the
Commercially made fish tanks are best
the water. There’s an element of water, and make sure that you have a because they’re designed to hold water
chance to the results, but with a bit of very firm grip on the fish tank before inside without leaking – and so will also
practice and a little luck you’ll find you start. hold it out without getting your Nikon wet
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Dunk your camera
Do your safety checks first – you don’t want to end up with a wet Nikon
NIKOPEDIA
01 Prepare the tank 02 Set up your camera
Before you start, check that the tank is watertight. Switch to manual focus and manual exposure. Set a
Without putting the camera in it, submerge it so that the narrow aperture, such as f/11, to give plenty of depth of
water reaches halfway up the sides. If this is successful, field, and set the shutter speed to give the correct
dry the outside of the tank and make sure that the side exposure. Using a wide-angle lens, set the focus to
that you’re going to shoot through is clean. around three metres. Finally, attach a remote release.
Q&A
KEEP IT STILL
This isn’t a technique for the
faint-hearted, so the first
time you use the fish tank
you’ll find it easier to hold it
steady if you simply float it
03 Final preparations 04 Go underwater on the top of the water,
Now put the camera into the tank. Keep the lens as close Enter the water slowly. You don’t want to stir up mud and rather than submerge it. You
to the glass as possible to reduce the effect of reflections dirt. Gently push the tank under the water until the lens should also only try this out
and marks on the glass. You may need to find something to is half-covered. Take several shots, keeping the tank on still, calm water because
keep the camera in position. Make sure that you can easily level. If you get water drops on the glass you may need to spray and waves can easily
GEAR CRAFT
reach the remote release while holding the tank. take it out of the water, clean it and start again. enter the top of the tank.
FURTHER OPTIONS Shooting underwater

If you don’t trust a fish tank to keep your camera dry, here are some alternative solutions for taking it underwater
01 Waterproof compact 03 Underwater housing 04 Action camera
camera These housings from firms such Many action cameras, such as the
A waterproof compact camera as Ikelite and Nauticam ensure GoPro Hero3 White Edition
such as the Nikon AW110 (£180/ worry-free underwater shots. (£200/$200), come with a
$250 ) is a reasonably affordable Buy a model designed for your waterproof

way of shooting underwater camera. From £1000/$1500. housing. These
images. The small diameter of cameras have
the lens can make it tricky to 02 Bag housing an extremely
position the Flexible bag housings come in a wide-angle
camera for a range of sizes. For a camera such lens, which
half-under, as the D7100 with a standard can produce
half-over water zoom, try the Ewa Marine U-A striking
shot, though. housing at £200/$270. images.
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CAMERA SKILLS
NIKOPEDIA
PROJECT TEN BIRDS IN FLIGHT
Watch the birdie!

Shooting birds of prey in flight is a great test for
the prowess of any camera and any photographer
GEAR CRAFT
Forget sports. If you want a real longer focal length with full-frame
THE MISSION test in action photography, try SLRs than you will with DX models.
Shoot birds of prey in
getting a great shot of a bird in flight. Location is probably just as
flight in the wild
Unlike at a stadium or race circuit, you important as the equipment and to get up on a hill, so that you can
TIME NEEDED have to track down your feathered settings that you use. We chose to shoot these big birds as they ride the
■ 3 hours subject in the first place, then try to shoot Red Kites because they can be thermals – and so that as they dip you
freeze its movements against a found reliably if you go to the right can frame them against fields or
SKILL LEVEL distracting background. This is a true spot (see opposite) in the UK. But trees. To avoid these backgrounds
challenge for both you as the finding the birds is not enough, you becoming distracting you need to use
photographer and for your SLR. also need a good vantage point to your lens wide open, minimising the
How close you can get will depend shoot them from to see them in flight. depth of field. This is a bonus, because
KIT NEEDED on the species, but with almost all You want to avoid shots of the birds you’ll need to use a fast shutter speed
■ Nikon D-SLR birds you’ll want to get the longest feeding on the ground, or against a (we recommend using 1/2000 sec).
■ Supertelephoto lens lens that you can sensibly afford – and bland, featureless white cloudscape. But the disadvantage of the narrow
due to the crop factor, you’ll need a To avoid a silhouette, your best bet is band of depth of field is that your
focusing will need to be even
The Red Kite is a British conservation success story. It was more accurate. A smooth panning
technique is needed to track the birds,
a common scavenger in towns and cities in Shakespearean along with the choice of the right
times, but had almost disappeared from the UK by the 1990s autofocus settings.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Stack the odds of success in your favour IN SEARCH OF
Sharp frame-filling shots are not guaranteed – but these six steps will give you better odds THE RED KITE
The Red Kite is a British
conservation success story.
It was a common scavenger
in towns and cities in
Shakespearean times, but
had almost disappeared
from the UK by the 1990s.
Thanks to successful
NIKOPEDIA
reintroduction
programmes,
it can be
found in
significant
01 Location! Location! Location! 02 Big is best quantities if
you head to
You may chance upon an owl flying over your head, but to You need a long lens. Even though Red Kites have a five-foot
the right spot…
maximise your chance of getting a good shot you need to wingspan they will be some way from you when they fly past.
find a location where your chosen species is seen regularly. A lens with an effective focal length of 600mm (600mm on ■ Gigrin Farm, Wales
Spend some time on Google researching locations, and find an FX model, or 400mm on a DX SLR) is ideal. We used a Near Rhyader, this sheep
out where other photographers have had success. Sigma 150-500mm, set to 500mm, on a DX Nikon D300S. farm feeds the kites at a set
time, so you are guaranteed a
good show (www.gigrin.
co.uk), and there are hides
available to hire.
■ Chilterns, England
Q&A
The best places are in the
villages where the M40 cuts
through the Chilterns
(www.chilternsaonb.org).
We went to Aston Rowant
National Nature Reserve.
■ Argaty, Scotland
03 The need for speed 04 Manual exposure with Auto ISO Feeding station on the
Trossachs Bird of Prey Trail
The long lens and the fast-moving subject means you need Set both the aperture and shutter speed in manual mode,
(www.argatyredkites.co.uk).
to use a fast shutter speed, however dull the day. A speed of and then set the ISO to automatic. This means you get the
1/2000 sec is the bare minimum. But similarly, to ensure the precise settings you need even if the lighting changes
background is as blurred as possible, you should use your suddenly, and the camera adjusts the sensor sensitivity so
GEAR CRAFT
lens wide open (that’s f/6.3 on our Sigma 150-500mm). you don’t have to worry about under- or over-exposure.
05 Locking in on the prey 06 Dynamic focusing

You need to master the panning technique. You can’t rely on Kites move quickly, so you need to make sure the autofocus
a bird just entering the frame, so a tripod is not a great help. can keep up! This unpredictability is the perfect scenario
Track the bird smoothly across the sky, and wait for it to get for Nikon’s Dynamic Area AF. Use the central AF point, and
closer and turn to the light. Ideally you want it front- or try to keep this over the bird as you pan – if you can’t keep
side-lit, to show the colour and detail of the plumage. up, the SLR will switch to another AF point automatically.
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GEAR CRAFT
CAMERA SKILLS
PROJECT ELEVEN PAINTING WITH LIGHT

THE MISSION
■ Use light to pick out a
subject in night shots
TIME NEEDED
■ Two hours
SKILL LEVEL
Beam with delight
Want to add a spooky touch to shots of statues and cemeteries? Allow
us to illuminate the art of light painting with a Nikon and a handy torch
■ Some tricky aspects Dust off your flashlight, grab leaving it illuminated in the final stone angels at Arnos Vale cemetery
NIKOPEDIA
■ Advanced technique your Nikon and go searching for image. It’s a fun photographic trick in Bristol – but monuments, small
things that go bump in the night on that you can get really creative with, buildings, trees, and rock faces can all
KIT NEEDED cold dark evenings. We’re going show and it’s easy to master in a few hours. work really well too.
■ Shutter release
you how to capture statues after dark, A long exposure is essential, so a You don’t need a specific type of
■ Tripod ■ Torch
without using any harsh flash or fancy tripod is a must to keep your shots torch – any will do – although different
off-camera lighting set up. sharp, and a remote shutter release is kinds will produce different effects,
Light painting is essentially using a a big help against camera shake. You’ll and the more concentrated the beam
beam of light during a long exposure need a subject that will keep still for of light is, the more focused your lines
to ‘paint’ the surface of a subject, you, too. We used these very patient of ‘light paint’ will be.
STEP BY STEP Light up the night with a handheld torch

Bring out details in the darkness with some crafty battery-powered spotlighting
01 Scope out the scene
Q&A
Turn up at your location while there’s still

daylight if you can, so that you can check out
the surroundings
and decide where to
set up. You can take
some test shots in
daylight to plan
your compositions,
too. Once dusk falls
you can start 02 Help with focusing 03 Set up your camera
experimenting with Your D-SLR will find it impossible to focus in Shoot in raw so that you can adjust tones and
shutter speed and pitch darkness, but your torch will save your contrast in post-production if you need to.
aperture, although shot. Shine it on your subject and frame up Switch your mode dial to manual and select
GEAR CRAFT
you’ll need to tweak your shot. Switch your lens to auto focus and the longest exposure your camera allows
your settings as the ensure your focal point is sharp, then switch (usually 30 seconds). We started off with an
night gets darker. the lens to manual to lock the focus in place. f–stop of 8 and an ISO of 100.
06 Get creative
The beauty of light painting is that every shot
is different, and there are easy ways to get
creative once
you’ve mastered
the basics. Try
lighting from the
side or below for a

strong, moody
04 Start to paint 05 Adjust the exposure look, get right up
When you’re ready, press your shutter release Keep painting until the exposure finishes, then close to your
to start the exposure. Switch your torch on and check your shot on the back of the camera. It’ll subject, or play
use the light to paint your subject in long probably take you a few attempts and setting with white
strokes. You can paint from off-camera or in tweaks before you get an effect you really like. balance settings
shot, but if you’re in front of your Nikon, keep We found that we could dial the exposure down for different
moving to avoid getting caught in the photo. to eight or ten seconds and get good results. colour casts.
GEAR CRAFT
CAMERA SKILLS
NIKOPEDIA
BEFORE
Q&A
GEAR CRAFT
STONE SUBJECTS
■ If you’re keen to head
to your nearest cemetery
to hunt out angels like
ours, make sure you ask
permission to shoot first –
burial grounds usually have

specific rules about what you
can photograph and where
you can stand, especially if
you’re shooting after dark.
Alternatively, scout out
statues in a city or head to
a sculpture park for more
AFTER patient subjects.
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CAMERA SKILLS
NIKOPEDIA
PROJECT TWELVE SILHOUETTES
How to shoot silhouettes

Take a minimalist approach to your subjects and shoot into the sun to show shape
alone. Here’s how to set up your exposure to ensure successful silhouettes
GEAR CRAFT
Sometimes it is the simplest that can be identified by its that can be isolated against the sky or
THE MISSION pictures that work the best. And two-dimensional shape. by a plain bright backdrop – it’s much
■ Find suitable
in terms of composition and lighting, A strong outline is not enough: you harder to get a silhouette of a building
subjects for
shots don’t come any simpler than a also need to photograph the subject in a built-up area than of one that
silhouettes, and
silhouette. A silhouette is a subject from the right angle to accentuate stands in an open space.
expose them correctly
that has been photographed with this shape. A silhouette of a person, Although you can shoot silhouettes
TIME NEEDED backlight so that you only show its for instance, works better if you shoot in practically any weather, they look
■ 1 hour outline. As the subject is thrown into their profile rather than shooting more impressive when shot against
shadow due to the position of the them head on. For a bigger subject, a deep blue sky or a dramatic scarlet
SKILL LEVEL lighting, you can’t see texture, you such as a building, you’ll need to hunt sunset or sunrise.
can’t see its three-dimensional form, out the best angle to shoot from by The biggest problem with
and you can’t even see its colour. What walking around it, and then possibly silhouettes is getting the silhouette
you’re left with is the shape alone. coming back when the sun is in front to look dark enough. If you shoot in
KIT NEEDED To shoot a successful silhouette of you and behind the structure. To get auto modes, your camera will refuse
■ Nikon D-SLR you first need to choose a subject a clear silhouette, you need a subject to give you a perfect exposure. You
want the shadowy outline to be as
A strong outline is not enough: you need to shoot from the black as possible, and not a muddy
grey. Because of this you need to take
right angle to accentuate the shape. A silhouette of a person control of the settings yourself. Here’s
works best if you shoot them in profile rather than head on how to do just that…
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Take control of exposure for jet-black silhouettes
Avoid wishy-washy results by taking control of your camera’s contrast and compensation settings
SUNSET SUCCESS
■ A spectacular sunset can
be guaranteed to take most
NIKOPEDIA
people’s breath away. But the
glorious fiery skies can be
hard to capture successfully
in your photograph. The
secret is not to photograph
01 Find your position 02 Turn off Active D-Lighting the sunset alone – you
need a focus to the shot.
The best time for shooting silhouettes is at the beginning By default, your Nikon will have Active D-Lighting turned
You’re shooting into the sun
or end of the day, when the sun is low in the sky. You don’t on. This essentially adjusts the contrast in your picture,
anyway, so a silhouette is the
necessarily need to have the sun directly behind the helping you to pull maximum detail from shadows. For
obvious answer. So when you
subject, it just needs to be in front of you. Hunt out the shooting silhouettes, you need to turn this off. You’ll find
see a fantastic sunset and
camera angle that shows the best outline of your subject. the options for Active D-Lighting in the Shooting Menu.
grab your camera, your first
mission should be to find a
foreground subject that will
create a strong silhouette.
Q&A
03 Get up to speed 04 Exposure compensation
Set your camera to aperture priority mode, and use a With the settings you have now, silhouettes will not be
low ISO setting of between 100-200 to avoid noise. Set a dark enough, so you must use exposure compensation.
mid-aperture of around f/8. This should help minimise the You’ll typically need to dial in a setting of between -1
GEAR CRAFT
amount of chromatic aberration (colour fringing), which can to -3 EV (the more sky in the shot, the less negative
be a particular problem when shooting into the sun. compensation you’ll need).
TOP TIPS Great ideas for shooting into the sun

Try these five different approaches to add variety to your contre-jour photography
01 K.I.S.S. 03 Sun spot 05 Rim lighting
Keep It Simple for Avoid staring into the sun, If the sun is low enough,
Silhouettes! No need to but do try to include it in and with the right subject,
have the Taj Mahal or ET the frame. Reduce its backlighting can make the
on a bike. Even a lone tree brightness by partly hiding edge of your silhouette
makes a great subject. it behind the subject. glow, as with these sheep.
02 Turn sideways 04 Fill flash
Victorians loved silhouette Try a burst of flash to light
portraits, and it is a great up the foreground, while
way of photographing keeping the silhouette in
friends and family. Just the distance – as in this
shoot their profile! portrait of Editor Chris.
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GEAR CRAFT
CAMERA SKILLS
PROJECT THIRTEEN THE HISTOGRAM
Get rich with reds!

THE MISSION
■ Use RGB histograms
to improve exposure and
white balance
TIME NEEDED
■ 1 hour Stop losing detail in vibrant colours by switching
SKILL LEVEL on and interpreting your Nikon’s RGB histograms
NIKOPEDIA
■ Some tricky aspects The RGB histogram is one of plots the brightness of each pixel in The RGB histogram displays
■ Advanced technique the best-kept secrets on your a graph from the deepest black on separate graphs for the three
Nikon D-SLR. This display of the left to the brightest white on the colours – Red, Green, and Blue.
KIT NEEDED multi-coloured graphs may look a bit right. This luminance histogram is These are the primary colours that
■ Nikon D-SLR
scientific, but it can be a godsend fine for most subjects, giving a your camera sees and measures, and
with colourful subjects… if you know useful way of checking the exposure the three colours that the trillions of
what to look for. of an image you’ve shot, and a way of different shades and hues your Nikon
Most photographers look at a assessing the range of tones, or can record are made up of. Let’s see
black-and-white histogram, which contrast, that you have in a scene. how these graphs can be used…
STEP BY STEP Learn to love the multi-coloured graphs

How to switch on your RGB histogram, then use it to correctly expose bright colours and check white balance
Q&A
01 How old is your Nikon? 02 Make a colourful display 03 Spot the difference
You don’t need a top-of-the-range Nikon to get To get the RGB display, go to the Playback All four graphs will often be similar because
a more detailed RGB histogram. All recent Menu, then the Display Mode options, and most subjects are made up of a mixture of
Nikon SLRs from the D3000 upwards offer check the RGB histogram option. Now when colours. You may also see that the Luminance
GEAR CRAFT
the option of displaying one. Essentially, that you review your pictures, use the up or down (white) graph is almost always identical to the
means any SLR launched in the last five years arrows to toggle through the display modes Green graph, because the standard histogram
has this facility. But you need to switch it on… until you see the one with four coloured graphs. looks predominantly at the green channel.
04 White balance detector 05 Avoid a blow-out! 06 Darker by design

The graphs are often similar, so they can reveal The RGB graph is most useful when shooting To retain texture in the most saturated parts
white balance issues. In the shot on the left vibrant colours. The normal histogram here of the picture, use exposure compensation or
the preview looks too blue, and the peak is suggests the exposure is fine. But the RGB manual exposure controls to reduce the
further to the right in the blue graph than the display shows a problem in the red channel; the overall brightness, and then reshoot. The shot
others. If the white balance is corrected, the graph is pushed too far to the right. The reds are may need enhancement in Photoshop later,
peaks in all four graphs are in the same place. blown out, and we’re losing detail in the petals. but we have not lost that all-important detail.
CAMERA SKILLS
NIKOPEDIA
Q&A
BEFORE
GEAR CRAFT
AFTER
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CAMERA SKILLS
NIKOPEDIA
PROJECT FOURTEEN MAKE A SOFTBOX
Box up your flash

Get out some cardboard and tape and build your own softbox
With softbox
to get better results from your flashgun for next to no cash

GEAR CRAFT
One of the biggest drawbacks of wider, ending in a panel of translucent The larger the softbox, the softer the
THE MISSION using flash is that it produces material that diffuses the light of the light will be, but it will also reduce the
■ To make your own
harsh, high-contrast light. Strong flash as it passes through. light that reaches your subject from
flashgun softbox
shadows and highlights aren’t ideal You can make a softbox at almost the flash, so bear this in mind when
TIME NEEDED for subjects like portraits and some no cost from items you’ve got around choosing the size of cardboard box.
■ 30 minutes still lifes. You can soften the light your house. All you need is a suitably Of course, there are some
from your flash by bouncing it off a sized cardboard box (flattened, but disadvantages to the DIY approach.
SKILL LEVEL wall or ceiling, but these aren’t always with the top and base flaps intact The main one is that the home-made
available, or convenient to use. What because you’ll make use of the folds), softbox isn’t as portable as
you need is a way to soften the light some tin foil, some baking parchment commercially available versions
your flash produces. (or greaseproof paper) and some tape. because it doesn’t fold down, but for
KIT NEEDED There are loads of commercially Apart from saving you a fair bit of indoor use this isn’t a problem.
■ Flashgun ■ Tape available diffusers, bounce cards and money, the other advantage of a Planning your design and marking it
■ Cardboard box ■ Foil softboxes. The latter have one end do-it-yourself softbox is that you can out carefully before cutting will make
■ Tissue/baking paper that fits over your flash, and then get make it as large or small as you like. your softbox easier to construct and a
much better fit to your flash, so take
You can make a softbox at almost no cost from items you’ve your time during that stage of the
build. The design we’ve come up with
got around your house … apart from saving you a fair bit of is pretty simple to follow, and only
money, you can make it as large or small as you like takes around 30 minutes to make.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Get crafty
Find a large table or area with plenty of floor space, and build the box!
NIKOPEDIA
01 Measure it 02 Cut the cardboard
Measure the flashgun head. Mark its position on one end Once you’re happy with the design, cut away the excess
of the box – it needs to be in the centre of the finished cardboard. Next, trim the flaps at the opposite end of
softbox – going right up to the flap fold. Leaving a 2-3cm the box to make an opening for the diffuser material.
gap from the fold at the opposite end, draw a diagonal The sides should fit together to make a pyramid shape
line to meet the line marking the position of the flash. with a rectangular opening for the head of the flashgun.
DIY REFLECTOR
Q&A
For small-scale still life
subjects you’ll find that
reflectors are handy for
lightening the shadows. The
folding models from
manufacturers such as
Lastolite are often circular,
03 Add some foil 04 Final assembly so they can be difficult to
Before you finish the softbox you need to cut out some Now tape the softbox together using gaffer tape. Tape hold in position. It’s often
tin foil to match the shape of the interior. Glue it in both inside and outside of the openings to make it as easier and more convenient
position using a glue stick-type adhesive. The foil will solid as possible. Finally, cut out a piece of greaseproof to make your own from white
ensure that you don’t lose too much of the power of the paper the same size as the opening at the front of the or silver card, which you can
GEAR CRAFT
flash from using the softbox. softbox, and tape this in place. simply prop in position.
OTHER OPTIONS Soften your flash

A home-made softbox isn’t the only option for softening the light from your flash. Here are five alternatives
01 Bounce the flash 02 Sto-Fen 03 Hand-held diffuser 05 Dome diffuser
Point the flash away from Omni-Bounce Holding diffuse material These spread the light in
the subject, and use a These clip onto the head between the flash and the all directions, so will give
reflector to bounce light of the flashgun. They are subject gives good results. the softest results when
back, effectively increasing most effective when there You do need a free hand or there are plain surfaces to
the size of the light source. are lots of clamp to hold the diffuser. reflect light back.
plain
surfaces
04 Buy a softbox
These work just like the
to bounce
home-made version, but
light back
look more ‘professional’,
into the
and fold up for easier
shadows.
storage and transportation.
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AFTER
NIKOPEDIA
BEFORE
Q&A
Pop-up or hotshoe flash is a predominantly tungsten bulb

PROJECT FIFTEEN MIXED LIGHTING necessary evil when taking
pictures of people after dark. But one
lighting that surrounds you. For
more pleasing flash portraits,
CTO is go!
of the reasons that simple flash fit an orange filter to your flash –
images don’t look great is that the this gel is known as CTO (or Colour
colour of flash is so different from Temperature Orange). With this gel
the ambient lighting. Shoot indoors in place you then turn the white
at a party or out on the high street, balance to its Incandescent setting,
and the background will look and use the flash
Neutralise orange backgrounds with a gel unnaturally orange, due to the as usual.
GEAR CRAFT
THE MISSION
■ Use colour correction
gels for more natural-
STEP BY STEP Use an orange CTO gel on your flash
looking flash portraits Correct colour temperature mismatches when using flash – indoors and out!
TIME NEEDED
■ 15 mins
SKILL LEVEL
KIT NEEDED
■ Nikon D-SLR
■ Flashgun (or pop-up) 01 Get gelled up! 02 Stick on an orange 03 Set white balance
■ Orange CTO gel Coloured gels are available in rolls You put the orange-coloured CTO gel Adding the gel corrects the colour
from pro dealers and stage lighting over the diffuser panel on the flash temperature of your flash from
specialists. Companies such as head. You can use masking tape or a daylight to tungsten. Make sure your
Rosco, Honl and Rogue make kits of rubber band to hold in place if taking SLR doesn’t give you completely
pre-cut gels for photographers. You lots of shots, but holding it over the orange pictures by adjusting White
can also buy them cheaply on eBay. flash is easier for one-off shots. Balance to the Incandescent setting.
LEARN PHOTOSHOP CC & LIGHTROOM THE EASY WAY!

Issue 50 May 2015
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Issue 50 May 2015
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tBoost your images tDiscover hidden tools and tricks PLUS AT LAST! LIGHTROOM 6 IS HERE
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CAMERA SKILLS
NIKOPEDIA
PROJECT SIXTEEN MACRO LIGHTING
Ring flowers with light

If you want to give a lift to your macro shots, you need a flashgun that’s attached
to y our c amera’s lens. Discover how to choose and use a ring flash unit
GEAR CRAFT
Even on a sunny day, a flashgun ordinary flash, the lens itself casts the forensic stars of TV’s CSI, or in
THE MISSION is a useful accessory for a shadow across the picture. The orthodontists’ surgeries.
■ Learn how to use
the close-up photographer. As solution is to use a specialist macro There are two types available.
ring flash for close-ups
you carefully frame flowers and flashgun known as a ring flash, with A genuine ring flash uses a circular
TIME NEEDED butterflies with your macro lens, it’s the flash tubes attaching to the front flash tube to provide even lighting
■ 20 minutes all too easy for you and your camera of the lens. This means there are no around the subject. The advantage is
to cast a shadow across the very thing problems with shadows created by that it creates doughnut-shaped catch
SKILL LEVEL you want to shoot. What’s more, the the camera. The unit also creates lights in eyes if you use it for portraits.
flash gives you more scope to use the even lighting to maximise detail The alternative is a twin-flash design,
narrow apertures that will ensure you and c olour in the subject. which uses two small flash tubes
get enough depth of field to keep the Ring flashes aren’t just for keen on opposite sides of the lens. These
KIT NEEDED whole subject sharp. nature-watchers, though – they’re usually have large, semi-circular
■ D-SLR ■ Macro lens Unfortunately, pop-up flash or a a must-have for many medical and diffusers to mimic the all-round
■ Ring flash ■ Filter high-power hotshoe gun is of little scientific photographers. You’ll lighting of a genuine ring flash. The
ring adaptor help. When you’re up close with an often s ee them in the hands of advantage is that you can vary each
tube’s output independently, so you
A genuine ring flash uses a circular flash tube to provide even can create a side-lit effect that can
look better than the flat lighting of a
lighting around the subject, and it will create doughnut-shaped genuine ring flash. Now let’s see how
catch lights in your subjects’ eyes if you use it for portraits ring flashes should be used…
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP One ring flash to rule them all
A specialist macro flash will light up the smallest subjects in an even-handed way
NIKOPEDIA
01 Ring flash anatomy 02 Evenly does it
Most ring flashes have four components. The capacitor
and control unit fit onto the hotshoe of your camera.
Typically, macro ring flashes have two tubes – one on
each side of the lens, behind semi-circular diffusers.
WATCH THE
Via a lead, they link to the circular unit containing the These can be set to provide the same amount of lighting, BACKDROP
flash tubes and a diffuser. The flash tube clips onto the providing shadowless illumination of the subject that’s
■ When you’re shooting
front of the lens using a screw-on adaptor. just in front of the lens.
flowers at an ultra-close
range, you have very little
depth of field, even if you
use a narrow aperture
such as f/22. Therefore,
choose the spot that
Q&A
you focus on with care!
Irritatingly, backgrounds
can be distracting even
if they’re out of focus, so
watch out for these too.
Look for an angle that gives
you a uniform, uncluttered
backdrop to shoot your
03 Power up 04 Vary the ratio close-up study against.
Ring flashes have a guide number of about 15 (m/ISO100), As you would expect, you can vary the power of a ring
so are no more powerful than pop-up flashes. However, flash automatically or manually. However, you can
because they’re used much closer to the subject, this also alter the strength of the two tubes independently.
GEAR CRAFT
is more than enough power to let you use the narrow Using a ratio of 4:1, say, rather than 1:1, will give your
apertures that are needed for many macro pictures. images a more three-dimensional lighting effect.
TOP TIPS Pick the perfect ring flash

Ring flashes aren’t all the same – here’s what to look out for…
01 Twin flash 04 Wireless flash
Most portable ring flashes Metz’s Mecablitz 15 MS-1
use a twin-flash tube has the capacitor and
arrangement. Examples controls built into the flash.
include the Sigma EM-140 It’s fired using your pop-up

DG and Nissin MF18. flash in Commander mode.
02 Adaptors 03 Circular flash 05 Pure luxury
Ring flashes come with a The Sunpak Auto 16R Pro Nikon doesn’t make a ring
limited range of adaptors. and budget Marumi DRF14 flash, but has a wireless
Make sure you get one that have circular flash tubes. twin-flash system – the
fits on the filter ring of These give catch lights R1C1. With the commander,
your macro lens. when used for portraits. this costs £569 ($730).
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CAMERA SKILLS
U2
Q&A
PROJECT SEVENTEEN USER MODES
Set the mode for U!

Change your camera set-up in an instant to suit
different subjects using your Nikon SLR’s U modes
U1
GEAR CRAFT
Nikon cameras have got a lot of choice can mean that it takes you a
THE MISSION cleverer over the years, but they good minute or two to set up your
Create your quick-
have also got a lot more complex. camera with all the right options for
access settings banks
Look down the list of menu options your next shoot. Fortunately, some full set of custom settings, shooting
for different subjects
that you have on your SLR and there SLRs in Nikon’s range provide some options and exposure preferences
TIME NEEDED are literally thousands of different great shortcuts for getting you from with just the turn of one button. They
■ 10 minutes permutations for how you could set up one preferred setup to another are a godsend for those that shoot a
your camera. without dozens of button presses. variety of different subjects, or
SKILL LEVEL Of course, you can ignore most of You get a much better facility for regularly use specialist setups. And
these options, but some are very memorising your favourite settings if they can have unexpected benefits.
useful for specific types of shot. you have a D7000, D7100, D600 or The two pictures above, for
Customising the autofocus is much D610. These four cameras have two instance, look as if they need similar
KIT NEEDED more important with action subjects, special exposure modes on the main setups. But as one is shot with studio
■ Nikon D7000, for instance, than if you are a dial, labelled U1 and U2. These User flash as a light source, and the other
D7100, D600 or D610 landscape specialist. But this amount setting modes allow you to switch a with daylight. The exposure mode,
white balance, default aperture and
It takes you a good minute or two to set up your SLR for your much more need to be changed to
switch from one type of lighting to
next shoot. Luckily, some Nikons have shortcuts to get from one another. So even here the U1 and U2
set of settings to another without dozens of button presses modes prove useful.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Set up your U1 and U2 modes CUSTOM &
It takes a bit of effort to get your User modes set up, but they save time in the long run SHOOTING BANKS
■ Switch to ‘A’ mode
Pro models like the D800
don’t have the U1 and U2
modes, but they do have an
alternative system for
memorising ‘banks’ of your
preferred settings from the
Shooting menu and Custom
NIKOPEDIA
Settings menu. This split
system is less than perfect,
but can be well worth making
use of for the types of
photography you do the most
01 Get ready for the light 02 Essential exposure settings – or the ones that make you
do the most menu shuffling.
You need to make a surprising number of changes to the First set your exposure mode. For studio flash we want the
Make sure you activate the
camera setup to switch from studio lighting to natural manual mode, so turn the dial to M. Set a shutter speed of
Extended Menu Banks in the
light. We’re going to save settings for off-camera flash around 1/100 sec and an aperture of f/11 at ISO100, so every
Shooting menu, so you can
lighting under the U2 user mode, and options for the less time you use the U2 mode you start with these settings. Set
save metering modes and
technical daylight shots under the U1 option. white balance, AF and metering preferences too.
exposure modes as long as
the actual menu
preferences. My D800 has a
shooting menu for studio
photography, for instance,
and another for sport, which
Q&A
saves my preferences. And I
have a Custom settings bank
with all the wireless flash
controls optimised for
strobist flash. You can set up
to four banks for each menu.
Nikon models that have this
facility include the D200,
03 Customise the menu 04 Get set to memorise D300, D300S, D700, D2X, D3,
Now go through the Shooting and Custom Settings modes When you’re happy with this basic camera setup for your D3S, D3X and D4.
to choose your studio preferences. We choose 39 autofocus studio work (or any favourite subject), go to the Setup Menu,
points active – it means you can focus on a point in the shot scroll down to Save user settings, press OK, select U2 and
without having to move the tripod head. We also set EV then press OK to save. Now every time we turn the main dial
GEAR CRAFT
steps in third-of-a-step intervals for precise exposure. to U2, our camera is set up with our studio settings.
Shooting menu bank: lets you

set basic exposure settings
for favourite subjects
05 Choosing the right bank 06 Fast response U can rely on

Now we’ll set up the U1 option for daylight still lifes. Here When we’ve set up all exposure, autofocus, white balance,
we rely more on the camera meter, so set the camera to and menu setting options we go again to the Set-up Menu
aperture-priority, and set the aperture wide open for and save this setup as U1. Now all we need do is turn a Custom setting bank: creates
shallow depth of field. Lighting may be from mixed sources, single dial to get a whole bank of preferred settings – you up to four presets to save you
so we use an Auto White Balance option. just have to remember which is which! from tiresome menu shuffling
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CAMERA SKILLS
NIKOPEDIA
PROJECT EIGHTEEN FLASH LIGHTING
Spotlight on snoots
Create theatrical lighting with your hotshoe flash by controlling the spread of light
with a simple add-on tube. Here’s how to create this dramatic special effect
GEAR CRAFT
A flashgun is always a handy wall. Even though most add-on background is much further away the
THE MISSION tool to have in your camera bag, strobes have a zoom head that allows wide coverage of the flash tube isn’t
■ Narrow the spread of
but it can often be like using a you to narrow the spread of light, the an issue, because the light power falls
light from a flashgun
sledgehammer to crack a nut. For this flashgun will still light up the majority off so sharply with distance. With a
TIME NEEDED reason, you almost always need extra of the frame. A snoot restricts the portrait, if the wall or backdrop is just
■ 20 minutes add-on accessories to turn the flash spread to a narrow beam, so that behind the subject, the background
into a useful creative effect. some areas of the frame are not lit at becomes as well lit as the person. The
SKILL LEVEL The flash accessory with the most all by the flash. It’s an effect that’s not result is a cold, analytical shot that
unusual name has to be the snoot. just useful for portraits, it can also be lacks any atmosphere. Use a snoot
This is just a long tube or funnel that used for still-life arrangements, and just the person’s face is lit,
attaches to your flashgun, converting where you only want one thing on your creating a much more theatrical
KIT NEEDED it from a floodlight into a spotlight, table top to be highlighted. effect. Commercially made snoots are
■ Nikon D-SLR picking out a small area of the scene. A snoot is of most use in available to fit most add-on flashguns,
■ Flashgun ■ Snoot A snoot is very handy when you’re circumstances where the background but there’s no need to spend money on
■ Wireless trigger photographing portraits against a is very close behind the subject. If the one to get this cool effect, because
you can make your own light funnel
A snoot is just a long tube or funnel that attaches to very easily. Whether you buy one or
make one, there are some things to
your flashgun, converting the flash from a floodlight into watch out for to get successful
a spotlight, picking out just a small area of the scene results with a minimum of fuss…
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Take a moody, spotlit strobist portrait
Set the exposure manually for a dark background, then pop just enough flash for drama!
TRIGGER OPTIONS
■ You can use a snoot with
the flashgun mounted on the
NIKOPEDIA
hotshoe, but you get more
dramatic results if the flash
is used off-camera to create
a side-lit effect. Nikon’s own
Creative Flash system can be
01 Backs against the wall 02 Base exposure used with some flashguns,
A snoot is particularly useful when there’s little option With off-camera flash it’s wise to use manual exposure but it isn’t reliable in bright
but for the subject to stand or sit near the backdrop you’re mode, particularly when lighting just a small part of the light. A wired flash sync
using. It’s the best option if you don’t want the whole frame. Settings of 1/125 sec at f/6.3 at ISO200 are a good cord is another option, but
background to be as well lit as the person. The theatrical starting point. Take a test shot of the backdrop without this may not be long enough
lighting effect is very well suited to male portraiture. flash (as above) to see that the shot looks dark enough. to give a full range of flash
positions. The best solution
is to use a two-part radio
trigger. Low-cost options
are available on eBay, and
top pro options include the
Pocket Wizard range. We
Q&A
used a mid-priced Hähnel
Combi TF (£50, $90).
03 It’s a wrap! 04 Power control

We used a Large Rogue FlashBender (£32, $40), which The exposure for the subject is simply controlled by
wraps around a flash with an elastic strap and Velcro, as altering the power output of the flashgun. Use the flash
our snoot. You also need a trigger for the off-camera flash in manual mode, and start off with a setting of 1/8 or 1/16
(see far right), and something or someone to hold the flash power. Take a test shot, and if the subject is too bright
GEAR CRAFT
in the right position (we used a tripod). reduce the power, or if too dark increase it!
TOP TIPS A snoot for every occasion and budget

You can buy purpose-built flashgun snoots, but it’s also easy to roll your own…
01 Rogue FlashBender 03 Use paper or card 05 Honeycomb grid
Reinforced nylon portable On location, fashion your A grid or honeycomb
solution available in two own impromptu snoot narrows the spread of flash
sizes (from £25, $35), held from a rolled up magazine, light further, and can be
on with Velcro strap. Also notebook or newspaper, or used with a snoot. A set
works as a bounce card. a piece of card. from Rogue costs £40/$50.
02 Interfit Strobie 04 Use a Pringles tube
Metal snoot with add-on This potato chips can was
grid, just one part of a just the right size to make a
bargain kit of Strobie flash snug-fitting snoot for our
portrait accessories (£103, Nikon SB-900 flashgun.
$135) from Interfit. You need to cut the end off!
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GEAR CRAFT
CAMERA SKILLS
PROJECT NINETEEN TILT SHIFT PART 1 Shift effects
Tilt it, shift it!

Straighten buildings, and alter perspective without moving!
This movement allows you to move the lens parallel to the sensor,
giving you control over perspective. It enables you to keep the sensor
in one position, while altering the area of the subject that you include.
Discover how you can use a tilt-shift lens

to produce six different special effects
NIKOPEDIA
The shallow depth of field effect

THE MISSION available by using tilt-and-shift
Q To explore the uses
lenses has become their most popular use.
of a tilt-and-shift lens
However, creating this ‘toy town’ look is not
TIME NEEDED their only use. Tilt-and-shift lenses allow
■ Two hours you to move the body of the lens in relation
to the sensor. The shift movement keeps
SKILL LEVEL the lens parallel to the sensor, but moves it
up, down or from side to side, allowing you
to control the perspective of your image.
Tilting the lens shifts the plane of focus,
KIT NEEDED allowing you to increase or decrease the
■ Nikon D-SLR amount of the scene that’s in focus. If you
■ Tilt-and-shift lens want to get the best quality results without
having to resort to any 01 Correct converging verticals
software tricks, a The classic use of the shift movement is to avoid converging verticals in
tilt-and-shift lens is your images. To achieve this you start with the lens in its normal position,
Q&A
the only option. and making sure that the camera is level and the sensor is vertical, frame
your basic image. But at this stage the shot won’t include the top of the
To find the right tilt-shift
subject, and there will be too much foreground, so you shift the lens
lens for you, see our lens upwards, which will alter the framing of the shot to include the top of the
tests in the next chapter subject while keeping everything straight in the frame.
PART 2 Tilt effects

Play with depth of field by tilting the lens
Normally, when you
01 Toy town effects
GEAR CRAFT
focus the lens on a

This effect is usually achieved by pointing the camera down,
subject, any object at
and then tilting the lens up. It’s often most successful when
the same distance
shooting from a high viewpoint, because this means that
from the camera will
you can angle the camera more than when shooting at the
also be sharp, and
same level as the subject.
you control the depth
Tilting the lens upwards
of field by changing
means that the plane of
the aperture. Using
focus moves in the opposite
the tilt movement
direction to the way that
will alter the plane of
the subject is positioned,
focus, so that you can
producing an extremely
control whether
shallow area of sharp focus.

objects across the
This effect is most
frame are sharp or
pronounced when using wide
blurred.
apertures, and you’ll also
need to refocus on the area
that you want to be sharp,
because tilting the lens
completely alters the focus
settings on the lens.

GEAR CRAFT
CAMERA SKILLS
NIKOPEDIA
02 Panoramic shots 03 Avoiding obstructions or reflections
Using the shift movement you can produce a series of images that can Sometimes it’s impossible to position the camera to avoid obstructions
easily be stitched together in software such as Photomerge in Photoshop. such as fences appearing in the frame. However, it’s often possible to use
Q&A
Once you’ve positioned the camera, all you need to do is to take three shots, the shift movement to alter the viewpoint enough for the obstruction to be
one with the lens shifted left, one centred and one right. This technique just out of the frame. The shift can also be handy for avoiding including a
can’t produce the extremely wide panoramas that can be done by rotating reflection of yourself when shooting shiny surfaces. You simply move to
the camera, but because the camera is in a fixed position they are easy to one side (or up or down) and then compensate for this change in viewpoint
set up and stitch together. by shifting the lens to let you recompose the shot without the reflection.
GEAR CRAFT
02 Sideways tilt 03 Increasing depth of field

Similar to the toy town effect, this relies on the extremely shallow depth of This effect is one of the more subtle uses of the tilt movement. It can allow
field, but instead of tilting the lens up you rotate it and tilt it to one side. you to keep a subject sharp, which would otherwise be impossible even
This is perfect for shooting scenes where there are objects that are the using narrow apertures. Once you’ve framed your shot, tilt the lens slowly
same distance from the camera at either side of the frame. By tilting the towards the subject that you want to keep in focus. This moves the plane of
lens sideways you can then throw the subject on one side of the frame out focus, so that instead of being parallel to the sensor, it corresponds to the
of focus, while keeping the subject on the opposite side sharp. surface of the subject that you want to keep in focus.
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CAMERA SKILLS
PROJECT TWENTY TETHERED SHOOTING
Control your Nikon

Q&A
with your PC
Use Nikon Camera Control Pro 2 and you can save images direct to your hard
drive, get a live preview and control your camera from your computer
GEAR CRAFT
Two of the main reasons on your subject. Another advantage 30-day free trial (http://nikonimglib.
THE MISSION commercial studios use of controlling the camera from your com/nccp/). After the trial period
■ To get set up for
tethered shooting are that it enables computer is that once you’ve set it you’ll have to buy a licence key if you
tethered shooting
faster workflow and gives you the up, there’s no danger of moving or want to carry on using it, though, and
TIME NEEDED ability to store images directly to your jogging the camera because all of the that costs £140 ($150). There are some
■ 30 minutes computer’s hard drive. However, there settings are done remotely. This is other software options available, such
are several other advantages that are perfect for taking completely as Capture One 6 Pro and Adobe
SKILL LEVEL even more useful in your home studio. shake-free shots and precise framing Lightroom 4, although neither offer
First, tethered shooting gives you if you want to overlay images or the live view preview.
the ability to check the focus on the construct HDR images. Using the Camera Control Pro 2
live view preview display on the You’ll need special software to software is pretty simple, but you do
KIT NEEDED computer screen rather than the allow you to control your camera from need to make a few choices before you
■ Nikon D-SLR smaller viewfinder or rear LCD screen. your computer. Camera Control Pro 2 start shooting. In the Storage tab you
■ Nikon Camera This preview also allows you to check is Nikon’s own option, and is available can choose the image quality settings,
Control Pro 2 software the shadows, lighting and reflections to download from Nikon’s website as a and also whether to record the images
on the computer, memory card or
Tethered shooting gives you the ability to check the focus both. Then you need to go to the Tools
menu and use the Download Options
on the live view preview display on the computer screen rather to select the folder on your computer
than the smaller viewfinder or rear LCD screen to save your images.
GEAR CRAFT
CAMERA SKILLS
STEP BY STEP Get connected
How to set up your camera and subject, and take your first tethered shot
NIKOPEDIA
01 Set up the camera 02 Connect to the computer
While you can control your Nikon remotely when tethered, To connect the camera to the computer you use the
you can’t move it or change the focal length of a zoom lens. standard USB lead supplied with the camera. These leads
Because of this you first need to position the camera on a are normally around 1.5 metres long, which should be long
tripod and frame the shot. It’s also worth making sure that enough for most home studios, but you can buy longer
the battery is fully charged. leads if you need to shoot from further away.
Q&A
03 Control the camera 04 Preview the image
Once the Camera Control Pro software is opened you first To show the live view image preview on your computer
need to go to Camera on the top menu and make sure that monitor, click the button marked LV. This will bring up a
the Enable Controls on Camera Body is deselected. After new window. Similar to using Live View on the camera, you
that you can use the two Exposure tabs to operate all of the can move the focus point around the screen by simply
GEAR CRAFT
normal camera controls. clicking the preview image.
LEAD ON
■ The length of the standard
USB lead can be limiting
if you want to position the

camera more than a metre
from the computer. You
05 Adjust the focus 06 Take a shot can get longer USB leads,
To focus automatically on the point that you’ve selected, Once the image is focussed you can click the Shoot button but avoid low quality leads
just click the AF button. To check the focus in detail, choose at the bottom-right of the screen. This will bring up a new and those longer than 4 to 5
100% from the drop-down menu at the top of the right-hand window showing a thumbnail and histogram, and, if metres – they can struggle
column. If you need to adjust the focus after that, use the + selected from the Tools menu, it will also automatically to transmit a good enough
and – buttons. open the ViewNX 2 software thumbnail browser. signal for tethered shooting.
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Page 206
NIKOPEDIA
Q&A
GEAR CRAFT
Page 213

CAMERA SKILLS
Essential accessories
The A-Z of Nikon lenses ..................................194
Standard zoom lenses....................................206
Prime lenses ........................................................207
NIKOPEDIA
Wide-angle DX lenses .....................................208
Wide-angle FX lenses .....................................209
Telephoto lenses ................................................210
Superzoom lenses ............................................. 212
Macro lenses .........................................................213
Tilt-shift lenses ...................................................214
Fisheye lenses .....................................................215
Kit bag essentials ..............................................216
Q&A
Heavyweight tripods ........................................218
Lightweight tripods ..........................................219
Flashguns ..............................................................220
Image editors........................................................221
Printers ................................................................... 222
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Page 221
Page 219
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NIKOPEDIA
Q&A
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ESSENTIAL ACCESSORIES free ebooks ==> www.ebook777.com
Image: Merca Michael

CAMERA SKILLS
NIKOPEDIA
Your lenses are the eyes of your camera.
We show you how you can use them to
change the way you see and capture
the world around you…
Q&A
ven the most versatile lens pages provide a quick introduction to
E has its limits, and before
long you’ll find you need to
the features and effects you can
expect from the whole range of lens
invest in new lenses to get more from types you can buy for your Nikon.
your photography. The next ten Following this you’ll find our pick of
the best Nikon lenses in nine
categories. Don’t visit your camera
dealer before reading this essential
guide from start to finish!
GEAR CRAFT
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CAMERA SKILLS
NIKOPEDIA
Image: Marsel van Oosten

Q&A
ngle of view dramatic rock formations and the hot air – the shorter the focal length of a lens, the
A This is the single most important

characteristic of a lens. On a
simple level, the angle of view
balloons floating overhead in a truly bizarre
juxtaposition. Wide-angle lenses are very good
at capturing the bizarre and the surreal
wider the angle of view will be. Telephoto
lenses have longer focal lengths and a
correspondingly narrower angle of view.
controls how much of a scene you can squeeze because they also exaggerate perspectives They’re good for shots where you want to fill
into a photograph. This dramatic landscape and the difference in size between objects the frame with objects in the distance,
was taken with a super-wide-angle lens, which close to the camera and those in the distance. compressing the perspective, or for picking
enabled the photographer to capture both the Angle of view is connected with focal length out individual details.
GEAR CRAFT
okeh the shape of the diaphragm (iris) in
B This is a Japanese
word used to
describe the precise
the lens. Digital SLRs have larger
sensors than compacts, which
leads to shallower depth of field
quality or appearance of out-of- and more pronounced and
focus areas in a picture. It’s controllable ‘bokeh’ effects.
sometimes used to describe blur
in general, but that’s an over-
simplification – there’s much more
to blur than that! The appearance
of blur can vary considerably, and

photography aficionados will be
quick to claim that some lenses
(invariably expensive prestige
lenses) produce better ‘bokeh’
than others. Bokeh is influenced
by bright highlights or light
sources in the background, or by

CAMERA SKILLS
onverging lines
C These are sometimes

called ‘leading lines’
because of the way
they lead your eyes into the
picture. Converging lines are a
powerful compositional tool, and a
side-effect of using wide-angle
lenses and shooting at an oblique
angle to your subject. They’re most
effective when the convergence is
NIKOPEDIA
horizontal, such as a road or
railway tracks leading into the
distance, or the edges of this pier.
This shot works because the
camera has been positioned in the
middle of the pier to preserve its
perfect symmetry. The camera has
also been tilted upwards, which
works here, but sometimes can
look like a mistake, when capturing
a tall building, for instance, where
the effect is less effective.
Q&A
epth of field
GEAR CRAFT
D Depth of field is the zone of sharp
focus in front of the camera.
Telephoto lenses and wide lens
apertures give the shallowest depth of field, so
that there’s only a narrow plane of sharp focus ffective focal length
in the picture. However, landscape
photographers often want as much depth of
field as possible, so that both nearby objects
E The focal length of a lens is
used to work out its angle of
view and what kind of
and the distant horizon are sharp. You can photography it’s suited for, but the size of
achieve this with narrow lens apertures and the camera sensor makes a difference. DX
wide-angle lenses. The smaller sensors in Nikon DX D-SLRs
FX
But the focus means that they capture a smaller angle

distance is also a of view than a full-frame FX camera using
factor – the closer the same lens, which is why lens makers lens – the sort of length you might use for
you focus, the less often quote an ‘effective’ focal length too. portraits, for example.
depth of field there For example, when fitted to a DX-format In an ideal world, we’d all work with
is, and you can see camera, a 50mm lens has an ‘effective’ angles of view instead of focal lengths,
that in this picture, focal length of 75mm. On an FX-format but you’d still have the same problem with
where the distant (full-frame) camera it’s a ‘standard’ lens different-sized sensors in different
deckchairs have with an everyday angle of view, but on a DX cameras. Besides, we’re all used to focal
gone out of focus. Nikon D-SLR, it becomes a short telephoto lengths now anyway.
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CAMERA SKILLS
isheye lenses
F Normal wide-angle lenses are

designed to prevent distortion
and keep straight lines straight,
but fisheye lenses go wider still, abandoning
this distortion correction completely. They
produce strong circular
distortion that’s usually
employed as a special
effect, but if they’re used
with care, fisheyes can be
NIKOPEDIA
really effective for

everyday photography too.
This beach photo uses the
wide angle of view of a
fisheye lens to lead the eye
through the timbers to the
pier on the horizon.
Q&A
GEAR CRAFT
round-level shooting or you can use your viewpoint to exaggerate
G It’s really tempting to shoot

everything from a standing
position with the camera at head
perspective effects. Normally in architectural
photography you’d try to correct ‘converging
verticals’, but here the photographer has
height, but you can introduce much more turned them into a feature. Converging
variety into your pictures by changing your verticals happen when you tilt the camera
shooting position. If you get right down to upwards to take the picture, and by shooting
ground level, the world starts to look very from ground level you tilt the camera further
different. You can capture great natural history still. A bean bag or a mini tripod is the ideal
shots from an insect’s perspective, for example, support, especially if the ground is uneven.

CAMERA SKILLS
yperfocal distance
H In landscape photography you usually

want everything in the picture to be sharp,
right from rocks and plants in the
foreground to distant details on the horizon. This
means you need maximum depth of field, which can
mean some complicated calculations, because it
depends on the lens focal length, the focus distance
and the lens aperture. But landscape photographers
have found a clever solution – the ‘hyperfocal distance’.
For any given focal length and lens aperture, this tells
you the distance you need to focus at to put the horizon
NIKOPEDIA
right at the far limit of the depth of field, and bring the
near limit of depth of field as close to the camera as
possible. You can use a smartphone app to do the
calculations for you, or just look up hyperfocal
distances on a table. Here’s an example for a DX-format
Nikon D-SLR using a focal length of 18mm.
APERTURE NEAR LIMIT FAR LIMIT HYPERFOCAL

DISTANCE
f/4 2m Infinity 4m
f/5.6 3m Infinity 1.5m
f/8 1m Infinity 2m
f/11 0.75m Infinity 1.5m
Q&A
ris oiner
GEAR CRAFT
series of pictures that overlap by
I The ‘iris’ refers to the mechanism

inside the lens that produces the
variable lens apertures used for
J A ‘joiner’ is a picture
stitched together from
two or more separate
around one-third. Don’t take too many,
because the wider the joiner becomes,
the more unwieldy it is to edit and
exposure and depth of field control – it’s also frames, and is a great way of getting a print. This joiner was made from three
called the ‘diaphragm’. It consists of a series of super-wide-angle shot when you don’t overlapping pictures using Photoshop
thin, overlapping blades that slide across each have a super-wide-angle lens. You need Elements. We only had a regular
other as the aperture is adjusted, producing a to set the camera to manual exposure wide-angle lens, but it’s given us a
smaller or a larger hole for the light to pass and focus, so that the settings don’t picture that otherwise would have
through. The shape of this hole has an impact on change between shots, then take a needed an expensive super-wide lens.
the appearance of out-of-focus highlights in
your pictures, and defocused areas in general.
Older iris mechanisms use a smaller number of

blades, and these produce an iris shape that
isn’t completely circular – it may be hexagonal,
for example. These days,
the fashion is for circular
highlights, and so lens
makers have increased
the number of iris blades
to produce a more
circular aperture.
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CAMERA SKILLS
it lens 18-105mm f/3.5-5.6 VR that comes with
K This the standard zoom

lens that came with your
camera (although some
enthusiast models such as the D90,
D7000 and D7100.
The 18-55mm kit lens has a 3x zoom
professional models are sold ‘body- range, going from a wide-angle view
only’). It’s much cheaper to buy your (18mm) to a short telephoto setting
camera and lens as a ‘kit’ rather than (55mm). The 18-105mm kit lens offers a
separately, which is where the term ‘kit longer telephoto setting, which makes
lens’ comes from. it just a little more versatile. One
Kit lenses are designed to be limitation of these kit lenses is that
versatile, inexpensive accompaniments they have a variable maximum
NIKOPEDIA
to your camera to help you get started. aperture, which drops to f/5.6 at their
The build quality may not be quite up to longest zoom settings.
the standard of Nikon’s other lenses,
but Nikon’s kit lenses do actually
perform very well, and while you can
replace them with better-specified
‘standard zooms’ (see our picks of the
crop on page 206), many people are
perfectly satisfied with the
quality and don’t bother.
Current Nikon DX D-SLRs
come with one of two kit
lenses: the Nikon
18-55mm f/3.5-5.6 VR
found on the entry-level
D3000- and D5000-
series cameras, and the
Q&A
slightly longer range
ive View
L Nikon D-SLRs now offer you

two ways to assess and
compose your pictures. You
can use the viewfinder in the conventional
way, or you can switch to Live View and
compose the photograph using the LCD
screen on the back of the camera. This
GEAR CRAFT
means you can take pictures without having

to put your eye to the camera – you can still
see the picture and the main camera
settings from a couple of feet away – so it’s
easier to use the camera on a tripod with a
remote release, and there’s much more
scope for exploring different shooting
angles. The Nikon D5100, D5200 and D5300
are especially interesting because they have
a fold-out ‘articulating’ LCD display. You can
angle the LCD in almost any direction, and
this is ideal if you want to place the camera
on the ground for dramatic low-level shots

like this shot of a subway, or if you’re
shooting in a cramped environment where
Image: Federico Savoldelli
there’s no room to get behind the camera.

With Nikon’s latest D-SLRs and Wi-Fi
accessories, you can even compose and
shoot using another device such as a
smartphone or tablet.

CAMERA SKILLS
acro lens
M Most lenses have a minimum focus

distance of 0.2-0.5m, which means
it’s difficult to get right up close and
fill the frame with pin-sharp smaller subjects.
The solution is a dedicated ‘macro’ lens, which
has a fixed focal length and can focus much
closer than ordinary lenses. With a macro lens
you can discover a whole new world of patterns,
shapes and textures in nature that you don’t
normally see. Even with a macro lens, though,
NIKOPEDIA
you need to be careful to get super-sharp
close-ups. You should always use a tripod where
possible, not just to prevent camera shake but
to keep the camera locked precisely in position.
The depth of field available at close focusing
distances is tiny, and any slight camera
movement can send your subject out of focus.
You can solve depth-of-field problems by
shooting your subjects ‘head on’ so that they’re
on a single plane of focus rather than being
angled away from the camera. This is the
technique used for this photo of a butterfly
with its wings outstretched. Generally
speaking, for macro wildlife shots, you should
always focus on the eyes of the creature, just
like you would with regular wildlife shots.
Q&A
pen wide! accuracy that the human eye would find
O At one time photographers

were preoccupied with depth
of field, using narrow
hard to match. This makes it possible to
explore the magical world of bokeh and
wonderfully evocative shallow depth-of-
apertures to make as much of the image field effects. So, next time you go out
sharp as possible. In part, this was in shooting, don’t let your camera default to
response to the difficulty of focusing a boring lens aperture. Switch to P mode,
accurately and the poor performance of open the lens up as wide as it will go and
ano Crystal Coat most lenses of the time. see the difference it makes to your shots!
N Lens makers add special coatings But times have changed! Today’s digital We love this shot of a simple park
GEAR CRAFT
to their lenses. A coating zoom and prime lenses are often razor bench. If all the detail on the bench had
minimises internal reflections sharp at or near their maximum apertures, been sharp it would only have a fraction
within a lens, and maximises light transmission and modern AF systems can focus with an of the impact.
through it so that the image is as bright as
possible. This is why modern lenses deliver such
clarity and contrast. Each lens maker has its
own formula for lens coating, and Nikon’s latest
invention is its Nano Crystal Coat. This is a
unique ‘granular’ coating using microscopic
particles too small to interfere with the image,
but with the ability to reduce the amount by
which the light is refracted
as it enters the lens. Lenses

with the Nano Crystal Coat
have an ‘N’ badge on the
barrel. Nikon’s
groundbreaking
14-24mm f/2.8
super-wide-angle
lens for FX-format
cameras was one of
the first to use it.
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CAMERA SKILLS
inhole photography
P To take pictures, you don’t actually need a lens at all!

The lens is simply there to focus the rays of light to a
single point, and you can achieve the same effect
with a tiny hole drilled through a body cap fitted to your D-SLR, or
through the end of a can attached where the lens would be. You
can even get ready-made pinhole lenses. The distance between
the pinhole and the sensor determines its ‘focal length’. A body
cap pinhole will be a wide-angle lens, while a tin can pinhole will
be a telephoto. The smaller the hole, the
sharper the image, but the exposure
NIKOPEDIA
time will go up too. There’s no focusing

because the depth of field is infinite,
although the definition is limited by
diffraction effects, so while you can
shoot detailed subjects, dreamy shots
like this can be just as effective.
Image: Philippe Sainte-Laudy
uality control
Q It’s not just what

you’ve got, but how
you use it. The
more expensive the lens, the
better the quality, but the
Q&A
differences between the results

you get from a pro lens and a
consumer ‘kit’ lens are often
smaller than you might think. It’s
much more important to mount
your camera on a tripod, focus
carefully, and use your lens’s
‘sweet spot’ – the aperture range
where it delivers its best
sharpness, generally around f/8.
This incredible scene was shot
using a Nikon 18-200mm
f/3.5-5.6 superzoom. With
GEAR CRAFT
perfect camera technique, it

shows the quality you can
achieve with an everyday lens.
ounded diaphragm
R The shape of the diaphragm in your lens will

affect the shape of out-of-focus highlights in
your picture, and the effect can be quite
prominent. An older lens with a six-bladed diaphragm, for
example, might produce hexagonal highlights. These days,
though, photographers prefer a more natural, circular look,

so lens makers are now making rounded diaphragm shapes,
either by increasing the number of blades or by making the
inner edge of the blade more rounded. The effect is most
obvious in portrait shots with blurred light sources or
highlights in the background, but can be seen with any
back-lit shots taken with a wide lens aperture and shallow
depth of field. It’s all tied in with the concept of ‘bokeh’, and
the visual quality of out-of-focus areas in your picture. Blur
isn’t just blur any more – it has to be the right kind of blur!

CAMERA SKILLS
uper-telephoto
S A super-telephoto is a lens with a

focal length greater than 300mm.
These lenses are heavy, expensive
and deliver high levels of magnification for sports
or wildlife photography.
But that’s not all they do.
Super-telephoto lenses
flatten perspective, so
that distant objects appear
much larger relative to
NIKOPEDIA
those closer to the camera.
They also appear closer
together. Telephotos are
particularly effective when
shooting cityscape detail
shots with buildings on
several planes.
ilt-shift lens
T This is the general term for

lenses that offer built-in
perspective adjustments
– Nikon calls them PC-E, or perspective
control lenses. The name comes from the
Q&A
two key movements these lenses provide.
The tilt movement swivels the lens
sideways, up or down, which has the effect
of changing the plane of focus. You can use
it to keep the whole of an object or a scene
sharp, even when it’s at an oblique angle to
the camera, and when stopping the lens
down to its minimum aperture still doesn’t
provide enough depth of field. This harbour
shot was taken using the tilt mechanism
while pointing the camera downwards,
creating the popular model-village look.
See page 186 for more on this technique
GEAR CRAFT
and other tricks you can achieve using
tilt-shift lenses.
www.ebook777.com
CAMERA SKILLS
V filters
U UV, or ultra-violet, filters were

developed to counter the blue haze
effect you sometimes used to get in
distant landscape shots. Digital sensors are less
sensitive to this UV haze than film, but UV filters
remain a very useful accessory because they act
as inexpensive protection for your lenses. It’s
much cheaper to replace a scratched UV filter
than it is to buy a new lens. Apart from cutting
UV light, UV filters don’t have any other effect, so
NIKOPEDIA
as long as you stick to good-quality coated glass

filters like those made by Hoya, for example, they
won’t have any effect on the image quality.
ignetting
V Lenses don’t always produce perfectly

Q&A
even illumination across the frame,

and your pictures may be darker in the
corners than in the centre. This phenomenon is
called vignetting, or ‘corner shading’. It’s not always
a bad thing, though, because it can help to
Image: Michelle McMahon

concentrate the viewer’s attention on the main
subject, acting as a kind of subtle framing device.
You can get software tools that remove vignetting,
such as Photoshop, but you can also get tools that
add a creative vignetting effect, too.
GEAR CRAFT
ide-angle lens
W A wide-angle lens doesn’t just

get more of the scene in the
frame, it changes the way
objects look and relate to each other. With a
wide-angle lens you get closer to objects in
the foreground, which makes them look
larger; at the same time the wider angle of
view means that distant objects look smaller.
This produces stronger perspective effects,
as you can see from this shot, where the front
right wing of the car appears to bulge

outwards towards the viewer. Wide-angle
lenses are often used to tell a story, bringing
subjects forward or creating surreal
distortions. They can be used for portraiture
– to create a special effect – but generally, you
would probably prefer a short telephoto. Any
lens with an effective focal length of 28mm or
less is classed as a ‘wide-angle’. The
equivalent on a DX-format Nikon is about 18mm.

CAMERA SKILLS
-factor
X Teleconverters have long been seen as a

kind of magic bullet for telephoto
lenses. They fit between the lens and
the camera body, and the ‘x-factor’ refers to their
magnification. Nikon currently makes three
teleconverters: the TC-14E II (x1.4 magnification), the
TC-17E II (x1.7 magnification) and the TC-20E III (x2
magnification). A Nikon x1.4 teleconverter was used to
crop in tightly on this exotic bird. The magnification
comes at a price, though, because the maximum
aperture of the lens is reduced in proportion to the
NIKOPEDIA
magnification. The x1.4 converter means a loss of 1
f-stop, so an f/2.8 lens becomes an f/4 lens. The x1.7
converter reduces the aperture by 1.5 stops, and the
x2 converter brings a two-stop penalty. There are
other limitations. Nikon’s teleconverters can only be
fitted to its fast aperture, professional telephoto
lenses, and if you use Sigma lenses, say, you’ll need
a Sigma teleconverter instead. Caveats aside,
teleconverters offer an extremely affordable way
to take telephoto shots.
oom burst It can work especially well with sports
Z Here’s another special

effect that doesn’t need a
computer! What it does
and action, though it can be difficult to
get the timing right. If you’re having
trouble keeping the camera steady you
Q&A
need, however, is a steady hand and a could try putting it on a tripod. For an
willingness to experiment. The idea is added twist (literally), try turning the
that you quickly zoom the lens from its camera as you zoom. This is a tricky
shortest to its longest focal length technique to master, but if you get it
while the exposure is being made. This right you produce a ‘spiral’ zoom burst
means you’ll need shutter speeds of half which is even more intriguing. The
a second or longer to give yourself time great thing
to zoom in, so you can’t expect all your about digital
ellow filter shots to come out sharp. But what you SLRs is that you
Y A yellow filter used to be standard issue

for black-and-white photographers in the
past, especially for landscape work,
will get is a striking ‘zoom’ effect from
the centre of the frame, with lines of
colour radiating out from the centre.
can keep
practising until
you get it right,
GEAR CRAFT
where the yellow colour blocks some of the light from You can try this out on a range of and it won’t cost
blue skies, which gives them a darker tone, but doesn’t subjects, from portraits to flower shots. you a penny!
affect the appearance of leaves and grass. They’re not
used so much these days because digital sensors work
in a different way – there’s no advantage in filtering the
colours before the image is recorded, and it’s easier to
shoot in colour and apply the ‘filter’ effect on the
computer later on.
But why limit the good old yellow filter to black-and-
white work? Here, it’s been used to add a warm, retro
tone to this Instagram-style colour picture. It’s given
the colours a faded, old-style look without the need for
software filters. The right kind of subject helps, too:

look for quirky, offbeat compositions, and try
deliberately skewing the camera as you shoot. If you’re
Image: Chris George
going to use coloured filters, it’s best to use one of the

camera’s white balance
presets – if you leave it set
to Auto White Balance, it
may attempt to correct
what it sees as an
unwanted colour cast.
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CAMERA SKILLS
IN STANDARD ZOOM STANDARD ZOOM

CLASS
NIKOPEDIA
Tamron SP 24-70mm f/2.8 Nikon AF-S DX 16-85mm

Di VC USD £850, $1299 f/3.5-5.6G ED VR £440, $630
Q&A
A top-flight lens, complete with stabilisation – Unbeatable zoom range and upmarket features
that’s something of a bargain at this price make this a desirable DX-format lens
Tamron is best known and the build quality feels Reigning supreme in is true of the dual-mode optical
for its ‘budget’ lenses, excellent. The design includes terms of zoom range, the stabiliser. It includes normal
but a couple of recent designs a weather seal on its metal Nikon 16-85mm gives you extra and active modes, available via
demonstrate its commitment to mounting plate. at both the wide-angle and a switch on the lens barrel. The
the enthusiast and professional telephoto ends, with effective latter is great for shooting from
markets. One of these is the SP Performance focal lengths of 24mm and vibrating platforms, like planes,
70-200mm f/2.8 Di VC USD, Sharpness is excellent across 127mm respectively. Telephoto trains and automobiles.
the other is this 24-70mm. the zoom range, and a close reach doesn’t match that of
Similarities include a constant match to the Nikon 24-70mm. the 18-105mm kit lens, but the Performance
GEAR CRAFT
f/2.8 aperture, ring-type This is true not only for centre increase in angle of view at the Autofocus is fast, accurate and
ultrasonic autofocus and sharpness but also towards short end is noticeable. Build practically silent, and features
Tamron’s proprietary four-stop extreme corners of images, quality is superior to DX-format full-time manual override,
optical stabiliser, or ‘Vibration even at very wide apertures. kit lenses as well, feeling almost which is precise in operation.
Compensation’ system. Indeed, The Tamron produces slightly as robust as in the more pro- Sharpness is generally excellent
this is the only FX standard lens greater barrel and pincushion oriented Nikon 17-55mm. even at the widest available
we’ve seen with a stabiliser. distortion, but differences are Advanced features include apertures, which is useful.
The Tamron has a large front GLIÀFXOWWRVSRWLQPRVWLPDJHV ring-type ultrasonic autofocus, However, the sharpness drops
element and an oversized 82mm At this price the Tamron is very which is absent from cheaper off a little at the longest end of
ÀOWHUWKUHDG,W·VDFKXQN\OHQV good value for money. lenses in this category. The same the zoom range.
FEATURES FEATURES
BUILD QUALITY BUILD QUALITY
IMAGE QUALITY IMAGE QUALITY
VALUE FOR MONEY VALUE FOR MONEY
OVERALL OVERALL
The Tamron delivers superb image WE SAY… It’s a fabulous lens that’s This Nikon lens is big on image quality and WE SAY… If you want extra zoom
quality for an excellent price also extremely good value zoom range, but sharpness could be better range, this is the lens to go for

CAMERA SKILLS
PRIME PRIME
NIKOPEDIA
IN
CLASS
Nikon AF-S 85mm Sigma 50mm f/1.4 EX DG

f/1.8G £380, $500 HSM £350, $500
Q&A
A fast yet affordable 85mm lens, this fast This chunky option is a heavyweight in
prime is refreshingly lightweight as well its class, and it’s strong on features too
Considering that Nikon’s some of the competition isn’t In many respects, the Autofocus speed is a fair bit
85mm f/1.4G lens costs much of an issue. In practice, Sigma 50mm f/1.4 goes faster than on Nikon 35mm
around £1200 ($1650), this you can get a really tight depth toe-to-toe with the Nikon and 50mm lenses, yet matches
f/1.8 edition looks a bargain at RIÀHOGDWDIRFDOOHQJWKRI f/1.4G. Both feature a rounded, Nikon lenses for retaining a high
less than a third of the price. 85mm when using f/1.8. nine-blade diaphragm, ring-type degree of accuracy.
That said, this lens has more in ultrasonic autofocus and a fast
common with Nikon’s 50mm Performance f/1.4 aperture. In the details, Performance
f/1.8 than the 50mm f/1.4 Sharpness and contrast are very however, there are some notable As with the Nikon 50mm f/1.4,
when it comes to features. good, right into the corners differences. sharpness is uninspiring when
GEAR CRAFT
For example, it has seven of the frame at just f/2.8. The Sigma has a rear-focus shooting at the widest aperture.
rather than nine blades in its Autofocus is a fair bit speedier system in which the front However, the Sigma takes longer
diaphragm. Even so, there’s than most other prime lenses, HOHPHQWLVÀ[HG,W·VPXFKODUJHU to sharpen up as you go through
still plenty to get excited about. too. Bokeh is wonderfully soft and heavier than the Nikon, the aperture range, only really
The front element remains and smooth. Despite only having having a 77mm rather than getting into its stride at f/4.
FRPSOHWHO\À[HGGXULQJIRFXVLQJ a seven-blade diaphragm, PPÀOWHUWKUHDGDQGWLSSLQJ The plus side is that bokeh
and gives fast, ring-type defocused highlights remain the scales at 505g compared is particularly smooth, with
ultrasonic performance. quite well rounded down to with the Nikon’s 280g. As such, minimal fringing and very good
The fact that this lens is f/2.8. Overall, this lens is a truly it feels more like an 85mm lens retention of circular shapes for
two-thirds of a stop slower than excellent buy for the money. when mounted on a camera. defocused highlights.
FEATURES FEATURES
OVERALL OVERALL
Sharpness and contrast are impressive, WE SAY… Great handling and Colour fringing around defocused edges is WE SAY… Delivers the best bokeh
even at the widest f/1.8 aperture sharpness, with beautiful bokeh kept to an absolute minimum of any 50mm lens we’ve seen
www.ebook777.com
CAMERA SKILLS
IN WIDE-ANGLE DX WIDE-ANGLE DX
CLASS
NIKOPEDIA
Nikon 10-24mm f/3.5-4.5G Sigma 10-20mm f/4-5.6

AF-S DX £640, $809 EX DC HSM £370, $480
Q&A
It’s much pricier than the competition. Why does The Sigma ultra-wide-angle offers more
the Nikon DX-format lens deserve its price tag? refinements than it’s nearest competitors
Expensive for a DX-format impaired. Handling is good, This lens has been on the doesn’t rotate during autofocus,
ultra-wide with a variable with smooth, precise operation. market for eight years and so you don’t need to worry
aperture through its zoom still holds its own against the about fouling its action during
range, the Nikon costs nearly Performance newer, more expensive, Sigma handheld shooting.
twice as much as the Sigma 10- Contrast is good even at the 10-20mm f/3.5. It’s smaller,
20mm. The build quality feels as widest available apertures, and lighter, has a 77mm rather Performance
robust as that of the Sigma lens, sharpness is maintained into WKDQPPÀOWHUWKUHDGDQGLV This lens is actually a little
although the Nikon also has a the corners of the frame. The nearly £100 cheaper. It lacks a sharper than Sigma’s pricier,
weather-seal ring around its lens wasn’t an over-achiever constant aperture throughout constant-aperture counterpart,
GEAR CRAFT
mounting plate. This is lacking for sharpness in our lab tests at the zoom range, but it features especially at the short end of
on most other DX-format lenses f/8, but it is consistent across PRVWRIWKHVDPHUHÀQHPHQWV the zoom range. Distortions are
in this category. the aperture range and gives including fast, near-silent, ring- quite similar between the two,
Moreover, only the Nikon lens superb real-world results. Barrel type ultrasonic autofocus. although this cheaper model has
has its zoom ring at the forward distortion at the 10mm focal The autofocus system comes less distortion at mid-zoom focal
end of the lens, and the focus length is typical for a wide- with full-time manual override lengths. The only real downside
ring towards the rear. This puts angle lens, but being a genuine and increases the handling is that colour fringing is fairly
the focus ring within easy reach, Nikon lens, there’s an option for qualities of the lens compared pronounced at the short end, but
and because it doesn’t rotate automatic correction in recent with the Tamron equivalent. that’s automatically corrected in
during autofocus, handling isn’t Nikon bodies. This is because the focus ring current Nikon cameras.
FEATURES FEATURES
OVERALL OVERALL
Sharpness is maintained particularly well WE SAY… Well worth the purchase There’s no lack of sharpness or contrast WE SAY…Compact with impressive
into the extreme corners of images price if you want the best from this relatively low-priced lens performance – it’s unbeatable value

CAMERA SKILLS
WIDE-ANGLE FX WIDE-ANGLE FX
NIKOPEDIA
IN
CLASS
Nikon 14-24mm f/2.8G Samyang 14mm f/2.8 IF

AF-S ED, £1340, $1997 ED UMC £280, $420
Q&A
A fully pro, constant-aperture lens for full-frame Samyang’s offering for full-frame Nikons is really
Nikon SLRs, with build and image quality to match cheap, but can it compete with the big boys?
This Nikon lens doesn’t focus ring is further forward. Compact and lightweight ring at the rear of the lens
quite match the Sigma The focus ring is substantially for an FX-format ultra- is redundant on all Nikon
12-24mm for angle of view, but larger and wonderfully precise, wide lens, the Samyang is SLRs, and needs to be set to
it comes close. The maximum despite having a short travel. one of the cheapest lenses in the narrowest setting of f/22.
works out at 114 degrees Autofocus is blazingly fast. our roundup. Our test sample Unfortunately, there’s no switch
compared with the Sigma’s 122 Around the back, the lens was supplied by UK Digital, to lock the aperture ring.
degrees. The Nikon is bigger features a weather-seal ring on a popular online retailer of
and weightier, and you certainly its mounting plate. Samyang lenses. Intro 2020 Performance
get a lot of premium glass for KDVMXVWWDNHQRYHURIÀFLDO Sharpness and contrast are
Performance
GEAR CRAFT
your money. The enormous, distribution in the UK. disappointing at the widest
bulbous front element stretches Contrast is excellent even at the There’s no autofocus facility, aperture of f/2.8, but pleasing
almost to the forward edge of widest available aperture, which but that’s not a problem because between apertures of f/4 and
the built-in petal-shaped hood as remains constant. Sharpness is the manual focus ring is smooth f/16. Colour fringing is minimal
you zoom to the shortest focal superb, right into the extreme and has a long travel, enabling and overall, the lens produces
length. Even so, ghosting and corners of the frame, especially very precise adjustments. The good image quality considering
ÁDUHDUHZHOOFRQWDLQHG if you narrow the aperture a IRFXVDVVLVWDQGFRQÀUPDWLRQ its low price. However, barrel
Unlike the Nikon 10-24mm little. Colour fringing is rather ODPSVLQWKHYLHZÀQGHUDUH distortion has quite a complex
DX lens, the zoom ring is placed better controlled than with the based solely on the camera’s and irregular shape, which
at the rear of the barrel and the Sigma 12-24mm lens. central AF point. The aperture PDNHVLWGLIÀFXOWWRFRUUHFW
FEATURES FEATURES
OVERALL OVERALL
Sumptuous image quality is available WE SAY… Undeniably expensive, Results are very good overall but there’s WE SAY… A good budget buy for
from this lens even at wide apertures but you get what you pay for an irregular shape to barrel distortion FX-format cameras
www.ebook777.com
CAMERA SKILLS
IN TELEPHOTO TELEPHOTO
CLASS
NIKOPEDIA
Nikon AF-S 70-200mm Tamron 70-200mm f/2.8

f/2.8G ED VR II £1600, $2400 SP Di VC USD £1100, $1500
Q&A
The professional’s favourite is a supremely A ‘Super Performance’ Tamron lens that

well-built lens that excels in many situations certainly lives up to its billing
We so often see the ED an M/A mode that gives greater Tamron is arguably best weight are practically identical
tag applied to Nikon priority to manual focusing. known for its budget to those of the Sigma lens, at
lenses that it’s become all but There’s also a focus limiter, lenses, but this major revamp of 86x197mm and 1.47kg. There’s
ubiquitous. However, instead which locks autofocus travel the company’s 70-200mm f/2.8 a focus distance scale mounted
of one or maybe two Extra-low EHWZHHQÀYHPHWUHVDQGLQÀQLW\ has professional aspirations. beneath a viewing window, and
Dispersion elements, this lens Despite its magnesium alloy Four LD (Low Dispersion) and full-time manual focus override
has no fewer than seven. Build build, this Nikon is the heaviest one XLD (eXtra Low Dispersion) is available in single AF mode.
quality is also a step up from 70-200mm f/2.8 lens in its elements are included, along
competing 70-200mm lenses, category at 1.54kg. Even so, with multi-layer coatings and Performance
GEAR CRAFT
featuring a tough magnesium it’s reasonably comfortable for a nine-blade diaphragm. The The Tamron does remarkably
alloy rather than plastic barrel, prolonged handheld shooting, outer casing feels robust, and well to maintain sharpness at
complete with weather seals. and the construction really does unlike Sigma’s 70-200mm, its widest aperture of f/2.8,
As with the Nikon 70-200mm feel the most robust. comes with a focus limiter throughout the zoom range,
f/4, the VR system includes both switch and weather seals. almost matching the Nikon
normal and active modes, the Performance Further attractions include 70-200mm f/2.8 in this respect.
former of which has automatic There’s an excellent consistency fast and near-silent USD Compared with the Sigma
panning detection. As well as in sharpness and contrast, not (UltraSonic Drive) autofocus 70-200mm, it’s also slightly
the usual A/M mode (autofocus only throughout the zoom range and Tamron’s four-stop Vibration sharper at 200mm, and contrast
with manual override), there’s but also at differing apertures. Correction system. Size and is very impressive.
FEATURES FEATURES
OVERALL OVERALL
Superb image quality is assured, WE SAY… For a fast 70-200mm Excellent image quality is a close match WE SAY… With image quality this
throughout the zoom and aperture ranges zoom, this is as good as it gets for the Nikon 70-200mm f/2.8 good, it’s unbeatable value

www.ebook777.com
CAMERA SKILLS
IN SUPERZOOM SUPERZOOM
CLASS
NIKOPEDIA
Nikon 18-200mm f/3.5-5.6G Sigma 18-250mm f/3.5-6.3

AF-S DX ED VR II £585, $845 DC Macro OS HSM £420, $550
Q&A
Is this still the best DX option, or has the Nikon New and improved, the ‘Macro’ edition of this
18-200mm been eclipsed by newcomers? superzoom lens is a complete redesign
A little bigger and heavier and Tamron superzoom lenses. Following the lead set Sigma 18-200mm lens, handling
than the Sigma and Other features include a weather by the latest Sigma 18- is pretty much identical in both
Tamron DX-format superzoom seal on the mounting plate, and 200mm and Tamron 18-270mm, lenses. This is reinforced by
lenses, the Nikon 18-200mm a four-stop Vibration Reduction this recently launched lens is negligible differences in size and
is still manageable, measuring system with normal and Active much smaller than the original weight between the two.
less than 100mm in length and modes. The current Mark II edition. It’s almost identical in
tipping the scales at 565g. It’s edition of the lens has new size and weight to the Tamron Performance
well-balanced on any Nikon coatings to reduce ghosting and 18-270mm, and it comes very There are some pleasant
DX body, and it feels more ÁDUHLWVXIIHUVVOLJKWO\OHVVIURP close in terms of zoom range. surprises in key areas. Despite
GEAR CRAFT
UHÀQHGWKDQLWVFRPSHWLWRUV)RU zoom creep than the original, However, despite sporting a having a bigger zoom range
example, autofocus is ring-type and it has a zoom lock switch. ‘Macro’ badge, the maximum than the Sigma 18-200mm,
ultrasonic, which is fast, near- PDJQLÀFDWLRQIDFWRURI[LV barrel distortion is slightly less
silent and has full-time manual Performance barely any larger than with the noticeable at the wide-angle
override in Single AF mode. As expected, the handling of Nikon 18-300mm or 28-300mm end and pincushion is no worse
The focus scale is neatly WKHOHQVLVYHU\UHÀQHGDQG lenses, which are 0.31x and at the maximum telephoto
positioned beneath a viewing image quality is very good 0.32x respectively. length. Sharpness is also good
window, whereas it’s simply RYHUDOO7KHRQO\Á\LQWKH With the same ultrasonic at wide-angle and mid-zoom
printed around the outside of ointment is that sharpness at motor autofocus and optical settings, although it suffers at
the focus ring on all Sigma PPLVQ·WWHUULÀF stabilisation systems as the the telephoto end.
FEATURES FEATURES
OVERALL OVERALL
Sharp through most of the zoom range, WE SAY… Good features and build, There’s none of the under-exposure WE SAY… Compact and capable,
there’s only a dip at 200mm and the size is perfectly manageable tendency suffered by other lenses the Sigma offers good value

CAMERA SKILLS
MACRO MACRO
NIKOPEDIA
IN
CLASS
Sigma 105mm f/2.8 EX DG Tamron 90mm f/2.8 SP AF

OS HSM Macro £550, $970 Di Macro £345, $500
Q&A
This completely new design delivers rock-solid build This old stalwart fends off newcomers to maintain
quality and top-notch features at a sensible price its position as an excellent budget choice
Not just a revamp of adaptor ensures the lens hood Tamron couldn’t get a price. Handling is excellent,
Sigma’s older 105mm JLYHVPD[LPXPHIÀFLHQF\RQ review sample of its new with extremely smooth, precise
macro, this totally new design is either type of body. 90mm macro lens to us in manual focusing. A push-pull
brimming with features. It has time for this test, which is a mechanism in the focus ring
Sigma’s four-stop stabilisation Performance shame because it has Vibration enables you to switch quickly
system, and ring-type ultrasonic Autofocus speed is fast and well Compensation and UltraSonic between autofocus and manual
autofocus driving an internal able to track moving objects. Drive autofocus. By comparison, focus. The front element is
focus system that retains the The lens therefore works well as this older 90mm macro looks deeply recessed within the outer
lens’s standard physical length a short telephoto lens for sports quite dated. It has only a basic barrel, making the supplied lens
GEAR CRAFT
at close focus settings. Inside and wildlife, especially as the electric autofocus motor and the KRRGODUJHO\VXSHUÁXRXV
there are two SLD (Special Low image stabiliser has a selectable lack of internal focusing means
Dispersion) glass elements. mode for horizontal panning. it practically doubles in length Performance
Build quality feels every bit as To improve autofocus speed at its closest focus setting. Autofocus is quite slow, but it’s
strong as in the more expensive even further, there’s a three- However, there’s still plenty to boosted by a focus limit switch
Nikon 105mm lens, although position focus limiter switch. love about it. that can operate on either
the Sigma lacks a weather seal Manual focusing is silky smooth As one of Tamron’s SP side of a 40cm focus distance.
ring on its mounting plate. The and precise, while image quality (Super Performance) lenses, There’s plenty of sharpness and
lens is equally at home on FX- is quite simply stunning. It’s a it’s designed with an eye on contrast, which is why this lens
and DX-format cameras: a hood great lens. quality despite its competitive has always been a favourite.
FEATURES FEATURES
OVERALL OVERALL
It’s practically impossible to find fault in WE SAY… A wonderfully versatile, High image quality is maintained very WE SAY… Handling and image
any aspect of image quality well-engineered lens that delivers well at narrow apertures quality are superb. It’s a real bargain
www.ebook777.com
CAMERA SKILLS
IN TILT-SHIFT TILT-SHIFT
CLASS
NIKOPEDIA
Nikon 24mm f/3.5D Samyang T-S 24mm

PC-E £1465, $2000 f/3.5 ED AS UMC £950, $1000
Q&A
Arguably the most desirable of Nikon’s PC-E Samyang serves up another bargain in the shape
lenses, and also the most expensive of this fully-functioning tilt-and-shift lens
To be fair, there’s not DX bodies, the front of the This tilt-and-shift optic is a to rotate the aperture ring
a massive difference SRSXSÁDVKPRGXOHFRPHV real money saver. It’s only on the lens to its widest f/3.5
between the prices of all three extremely close to the section about two-thirds of the price position for brightest viewing
of Nikon’s PC-E lenses, but the of the lens that shifts upwards. of the competing Nikon 24mm when focusing and adjusting
24mm PC-E is nevertheless On the D7000 and D7100, it PC-E lens, or just half the price if tilt or shift, then rotate it again
the most expensive lens. Its obstructs the shift mechanism you’re buying in the USA. Even to the desired aperture before
big advantage for architectural and limits upward shift to so, there’s no hint of skimping shooting.
shooting is its relatively wide 8.5mm of the lens’s total on build quality. The lens is
angle of view. This enables upward travel of 11.5mm. robust and all of its controls for Performance
GEAR CRAFT
you to get closer to buildings adjusting tilt, shift and rotation It’s not as sharp as the Nikon
that you’re shooting while still Performance have a really high-precision feel. PC-E lenses, but it’s not far
avoiding perspective errors Image sharpness is exemplary As with Nikon’s PC-E lenses, behind, and sharpness is
thanks to the shift function. This at medium apertures, and a focusing is a strictly manual maintained into the corners of
often helps to avoid foreground slight improvement over the affair, but the Samyang’s focus the frame. Barrel distortion is
clutter. The focal length works Nikon 45mm and 85mm PC-E ring has a smooth, precise more noticeable than with the
really well on FX bodies, and is lenses. Colour fringing is also operation. It lacks the aperture Nikon 24mm PC-E lens, and it
by far the most suitable if you’re low, and despite the generous stop-down button featured on has the same issue with limited
using a DX body. However, there angle of view, barrel distortion Nikon PC-E lenses, but this isn’t upward shift on D7000 and
is one word of caution. On some is only marginal. a major omission. You just need D7100 bodies as that lens.
FEATURES FEATURES
OVERALL OVERALL
Barrel distortion is remarkably well WE SAY… For shooting architecture, Image quality comes pretty close to WE SAY… A tilt-and-shift lens at a
contained for such a wide-angle lens it’s the best money-no-object choice Nikon’s dearer 24mm PC-E lens refreshingly reasonable price

CAMERA SKILLS
FISHEYE FISHEYE
NIKOPEDIA
IN
CLASS
Nikon AF DX 10.5mm Samyang 8mm f/3.5 Asph

f/2.8G ED £550, $700 IF MC CS AE £250, $329
Q&A
It’s beautifully sharp, but Nikon’s DX-format fisheye Cheap but definitely cheerful, this fisheye from
is surprisingly not fully compatible with all bodies Samyang will put a smile on your face
Despite being designed Similar care is needed not to The Korean corporation ÀVKH\HLWFODLPVWKHXVXDO
for DX camera bodies, JHW\RXUÀQJHUVWRRFORVHWRWKH Samyang now has a UK angle of view measured between
the Nikon 10.5mm lacks AF-S front of the lens barrel, or they distributor for its lenses, which opposing corners, although it
autofocus, so you have to focus can creep into the image. It’s a are backed by a three-year squeezes a little more into the
manually on cameras like the UHPLQGHURIKRZVPDOOÀVKH\H warranty. Despite being the frame than the Nikon 10.5mm.
D3100, D3200 and D5100. lenses are compared with cheapest lens in this category
$VZLWKWKH6DP\DQJÀVKH\H rectilinear ultra-wide lenses of (and well under half the price of Performance
which can’t autofocus on any similar focal lengths. HLWKHURI1LNRQÀVKH\HVEXLOG Sharpness and contrast are
body, this isn’t too much of a quality feels robust. impressive and there’s very little
Performance
GEAR CRAFT
problem in practical use. On Handling is enhanced by a vignetting. It also produces little
bodies like the D7000 and There’s plenty of sharpness and smooth yet precise focus ring, colour fringing, even at the
D300s, which feature a screw- contrast, and the Nikon 10mm which you’ll need to use because extreme corners of the frame,
drive, autofocus is pretty quick PDQDJHVWRUHVROYHÀQHGHWDLO there’s no autofocus facility on and is resistant to ghosting and
and very accurate but a bit noisy. convincingly, even towards the any Nikon body. At least there’s ÁDUH7KHODFNRIDXWRIRFXVDQG
The lens is very compact and extreme corners of the frame. electronic communication with the fact that there’s no focus
lightweight, and you have to It does a good job of fending off the host camera for aperture, FRQÀUPDWLRQLQWKHYLHZÀQGHU
be careful not to foul the focus JKRVWLQJDQGÁDUHDVZHOOEXW so this can be controlled isn’t an issue due to the extreme
ULQJZLWK\RXUÀQJHUVDWOHDVW colour fringing can be apparent automatically or manually in all GHSWKRIÀHOGRIIHUHGE\WKH
on cameras that offer autofocus. towards the edges of pictures. shooting modes. As a diagonal lens. Overall, it’s a bargain.
FEATURES FEATURES
OVERALL OVERALL
Image quality is excellent, even in the WE SAY… It’s well made and well It’s almost as sharp as the Nikon lenses, WE SAY… The Samyang’s image
extreme corners of the frame worth the money with very low colour fringing quality is excellent for the price
www.ebook777.com
CAMERA SKILLS
NIKOPEDIA
KIT BAG
GEAR CRAFT
ESSENTIALS
any of the techniques in this reveal our recommendations for the

Take your photography to
the next level with a key M book require the use of one
or two key accessories that
best five photography add-ons you’ll
need to make the most of your
any serious photographer should images – a heavyweight or lightweight
accessory – discover our have. A tripod is nigh-on essential if tripod, a flashgun, editing software,
top recommendations of you want sharp pictures in almost
any conditions or situation, for
and a printer. And as with the lenses
on the previous pages, we provide our
the best gear you can buy instance. The following five pages top picks plus the best value options.

CAMERA SKILLS
NIKOPEDIA
Q&A
GEAR CRAFT
www.ebook777.com
IN
CLASS
NIKOPEDIA
HEAVYWEIGHT TRIPOD HEAVYWEIGHT TRIPOD
Manfrotto Benro Versatile Transformer

055CXPRO3 £250, $400 BRA2970F £100, $155
Q&A
Big and strong but still lightweight, this Impeccably turned out with an impressive set
carbon fibre tripod is one for the road of advanced features, and at a budget price
Weighing in at 1.65kg, the automatically retracting section 6PDUWO\ÀQLVKHGZLWK at 66cm, but extends to a useful
FDUERQÀEUH&;352 RIWKHEXWWKHSD\RIILV aluminium leg sections 175cm with the centre column
is easy to carry around, but has a few extra centimetres of and magnesium alloy castings, fully extended. A bubble level
a strong maximum load rating maximum operating height. the Benro comes complete with on the shoulder comes in handy,
of 8kg. Its carrying length is a There’s a useful bubble level on a carrying bag, and there’s no as does the supplied toolkit if
modest 65cm, and it reaches a the centre column, which also skimping on design or build anything should need adjusting.
lofty maximum operating height features three grub screws for quality. Features include three-
of 175cm. It’s also well endowed ÀUPDWWDFKPHQWRIDKHDG position multi-angle legs and a Performance
in the clever tricks department. particularly good pivoting centre The clip locks for the three-
Performance
GEAR CRAFT
There are four leg angles column system. The latter is section legs operate effectively,
available via a spring-loaded With chunky, wide-diameter leg very quick and easy to use, has a enabling smooth leg extension
clip. It’s not quite as fancy as sections, rigidity is excellent, IXOOGHJUHHVRIURWDWLRQDQG DQGVROLGORFNLQJ5LJLGLW\
WKHOHYHURQWKHQHZVHULHV and it remains so even when the features splines in the locking is impressive, even at the
tripod, but it’s still very quick legs and centre column are fully mechanism to keep the column maximum operating height.
and easy to use. The pivoting extended. The locking clips are ÀUPO\FODPSHGLQSODFH The platform to which a tripod
centre column system is also slightly further apart than on :LWKDNJORDGUDWLQJWKLV head attaches features three
an older generation design, WKHQHZHU0DQIURWWREXW tripod is no lightweight. It tips grub screws, which further help
but again is very speedy and it’s still possible to release and the scales at 2kg and is longer to ensure that everything is
easy to operate. It lacks the close them all with one hand. than most when folded down, locked down tight.
FEATURES FEATURES
The column mechanism
and leg angle locks OVERALL The pivoting centre
OVERALL
aren’t the latest, but WE SAY… A superb carbon fibre column system is really WE SAY… Smart design, clever
they work well tripod that’s light and rigid well implemented features and solid performance

CAMERA SKILLS
IN
CLASS
NIKOPEDIA
LIGHTWEIGHT TRIPOD LIGHTWEIGHT TRIPOD
Giottos Vitruvian VGRN Vanguard Nivelo 245BK

8255-5400-652 £300, $400 5-Section Tripod £120, $150
Q&A
Brilliantly conceived and beautifully executed, A radical rethink on travel tripod design, the
the carbon fibre Giottos is a travel tripod classic Vanguard makes for very compact carrying
7KDQNVWRLWVÀYHVHFWLRQ Performance Vanguard has often Performance
legs that outdo Leonardo The Giottos is a wonderfully impressed us in the past Speedy setup is aided by
da Vinci’s ‘Vitruvian Man’ by versatile tripod. It enables you to with its innovative designs and twist-lock leg sections, which
SLYRWLQJWKURXJKGHJUHHV remove one of the legs and use good build quality. The Nivelo operate by progressive twisting
the Giottos is lightweight and it as a monopod with the ball 245BK follows the trend, with a of the tripod feet. The system
compact when folded. For KHDG5LJLGLW\DQGVWDELOLW\DUH pivoting centre column. works well and is a time-saver
VWRZDJHWKHNLWLVRQO\FP very impressive for a combined Unlike the pivot system compared with using 12 clip
long. That’s 22cm shorter than legs-and-head kit that weighs in some full-sized Vanguard locks. Stability is pretty good
the Jessops Major tripod, even RQO\NJ tripods, you can’t use the centre and better than with its rivals.
GEAR CRAFT
though the Giottos extends to The quality of the tripod column at any angle through its The head also has a similarly
a maximum height of 165cm, head is excellent. It’s very GHJUHHDUFEXWLQVWHDG\RX quick action, although it’s not a
which is 4cm taller. solid and has a main knob that are limited to vertically upwards ball-and-socket head. Instead,
The twist locks on the legs serves for both locking and or downwards positions. two clamping screws enable
are smooth yet they enable adjustable friction damping. Upwards is ideal for regular independent movement for pan
YHU\ÀUPVXSSRUWZLWKDKHIW\ A separate pan-only lock knob, shooting, while downwards is and tilt. To swivel the camera
maximum load rating of 6kg. complete with calibrated scale, great for ultra-low-level shots for portrait shooting, you need
There’s also a multiple-angle leg and two spirit levels on the and compact carrying, because to remove the square quick-
facility that offers two locking camera platform aid speed and the head rests between the feet UHOHDVHSODWHDQGUHÀWLWDWD
positions for safety. versatility. when folded. GHJUHHLQFUHPHQW
FEATURES FEATURES
A carbon fibre travel tripod that really

OVERALL The pivoting centre column is unique in
OVERALL
delivers the goods, complete with a WE SAY… Smart design, clever this category, and is handy for extremely WE SAY… Lateral thinking literally
built-in monopod features and solid performance low-level shots turns this tripod on its head
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CAMERA SKILLS
NIKOPEDIA
IN
CLASS FLASHGUN FLASHGUN
Nikon SB-910 Speedlight Gloxy GX-F990 N TTL

£340, $550 £130, $195
Q&A
A spectacular flashgun that’s ideally suited to the This handy flashgun is big on power and has some
most demanding of photographers. advanced features, but it’s small in price
2QHRIWKHWKLQJVWKDW to GN49, compared with the The Gloxy is barely more generous automatic zoom range
sets fully professional 6%·V*17KHPRWRULVHG expensive than basic RIPP7KHKHDGDOVR
ÁDVKJXQVDSDUWIURPWKHPRUH zoom head also has extra ÁDVKJXQVOLNHWKH1LNRQ6% features a wide-angle diffuser
mainstream models is that telephoto reach, with a zoom DQG6XQSDN3=;EXWLVPXFK DQGSXOORXWUHÁHFWRUFDUG
adjustments for almost any UDQJHRIPPLQVWHDGRI more powerful and packed with
parameters need to be available PP/LNHWKH6% clever features. In the States, Performance
in double-quick time. As such, DXWRVHQVLQJLVDYDLODEOHIRU'; DQLGHQWLFDOORRNLQJÁDVKJXQLV In our tests the maximum power
WKH6%IHDWXUHVDURZRI DQG);FRPSDWLELOLW\ VROGDVWKH9LYLWDU')3RZHU output didn’t live up to its GN54
context-sensitive control buttons =RRP6SHHGOLJKW claims, but equalled that of the
Performance
GEAR CRAFT
EHQHDWKLWVLQIR/&'UDWKHU Build quality feels substantial, 1LNRQ6%7KHUHF\FOLQJ

like the Metz 58, but also has &RQVLGHULQJWKDWWKH6%KDV and it has a metal rather WLPHLVVHFRQGV77/ÁDVK
extra buttons and a rotary dial, a high maximum tested output than plastic mounting foot. exposure accuracy is good, with
VLPLODUWRWKH6%7KHUHVXOW of GN44, recycling speed is &OHYHUWULFNVLQFOXGH+66 a touch of under-exposure.
is that whatever you need to get YHU\VSHHG\²LWWDNHVMXVW +LJK6SHHG6\QFPRGHDQG The only real weak point is
at, it’ll be right there beneath VHFRQGVDIWHUDIXOOSRZHUÁDVK even programmable ‘repeat’ that the dual ‘wireless slave’
\RXUÀQJHUWLSV $VZLWKWKH1LNRQ6%77/ VWURERVFRSLFÁDVKZKLFK PRGHVODFN77/ÁDVKPHWHULQJ
In-keeping with its position metering is superbly accurate is practically unheard of at and are based on a light-sensitive
of power in the Nikon stable, and consistent, and illumination this price. Further attractions FHOO7KHÀUVWPRGHGRHVQ·WZRUN
maximum output is boosted is very even across the frame. include a motorised head with a ZLWKDSRSXSÁDVK
FEATURES FEATURES
OVERALL OVERALL
Precision, accuracy and even illumination WE SAY… Very good, but expensive TTL exposure accuracy is pretty good, and WE SAY… A feast of high-end
are assured by wide-ranging features and has no zoom versatility illumination is even across the frame features at a knockdown price

CAMERA SKILLS
IN
CLASS
NIKOPEDIA
IMAGE EDITOR IMAGE EDITOR
Adobe Photoshop CC Adobe Lightroom 5

From £8.78, $9.99 per month £103, $149
Q&A
It’s the T-Rex of image editors, but does the new Lightroom offers a whole new way to work
Photoshop CC face the same fate as the dinosaurs? with your images, from editing to organisation
3KRWRVKRSKDVWDNHQ correcting converging verticals Lightroom isn’t simply will do, you can export images
a few knocks recently. and other perspective issues. an image editor. It’s to it directly and have them
3URJUDPVOLNH$GREH/LJKWURRP <RXFDQDOVRDSSO\&DPHUD5DZ an all-in-one photographic returned to your Lightroom
have made photographers DGMXVWPHQWVDVOD\HUÀOWHUVLQ ZRUNÁRZVROXWLRQWKDWFDQ library automatically as new
realise there are newer, 3KRWRVKRSLWVHOIWKHUH·VDQHZ organise your photo collection images when you’re done.
cheaper, simpler ways of and improved Smart Sharpen using a searchable library. All /LJKWURRP·VQHZ6PDUW3UHYLHZ
HGLWLQJDQGPDQDJLQJWKHLU WRRODQGDFOHYHU&DPHUD6KDNH image-editing adjustments are option means you can edit your
photos, and while the switch 5HGXFWLRQWRRO non-destructive – they’re saved images even when they’re on a
to a subscription model might +RZHYHUWKHFKDQJHV in the library as processing disconnected external drive.
GEAR CRAFT
make sense for professionals, it’s DUHQ·WKXJHDQGVXSHUÀFLDOO\ instructions and no changes are The problem with Lightroom
stirred up plenty of debate. 3KRWRVKRS&&LVOLWWOHGLIIHUHQW made to your original photos is that it can only take you so
3KRWRVKRSLVQRZSDUWRI WRLWVSUHGHFHVVRU&6,W·VWKH at all. Lightroom can edit raw far. If you need to work with
$GREH·V&UHDWLYH&ORXGVHUYLFH LQWHJUDWLRQZLWK&UHDWLYH&ORXG ÀOHV7,))V-3(*VDQG36' layers, masks, composites and
– so you get more for your that could have a longer-lasting 3KRWRVKRSÀOHVDQG\RX advanced effects, you’ll still
money than a simple software impact for photographers. simply export edited versions of QHHG3KRWRVKRSRU(OHPHQWV
package, and as soon as Adobe your images as you need them.
can address user concerns, such You can create as many versions
DVKRZ\RXRSHQ36'ÀOHVZKHQ of an image as you like without
you no longer subscribe, the PROS… It’s still the ultimate FUHDWLQJQHZÀOHVWKDWÀOO\RXU PROS… Lightroom’s powerful tools
objections may fade away. image-editing powerhouse, and the hard drive. are fast, efficient and effective
This is not the only new interface is clean and efficient The editing tools are identical
CONS… You’ll still need Photoshop
IHDWXUHLQ3KRWRVKRS&&RI WRWKRVHLQ$GREH&DPHUD5DZ
CONS… Adobe Bridge can’t compete (or Elements) for layers, selections
course. It comes with Adobe ZKLFKFRPHVZLWK3KRWRVKRS
with the tools provided by rivals and more advanced effects
&DPHUD5DZZKLFKKDV &&EXWDUHDUUDQJHGLQD
three important new tools: the more accessible, streamlined
5DGLDO*UDGLHQWWRROFDQEH PDQQHU7KH$GYDQFHG+HDOLQJ
used to highlight your picture’s
OVERALL %UXVK5DGLDO*UDGLHQWDQG
OVERALL
focal point, the Advanced WE SAY… Photoshop is still the best Upright perspective correction WE SAY… Lightroom 5’s all-in-one
+HDOLQJ%UXVKFDQQRZFORQH image editor out there, and its move tools push it even further into workflow works brilliantly, and it’s
out irregular shapes and the to the Creative Cloud marks an 3KRWRVKRSWHUULWRU\²DQGIRU a much cheaper option than
8SULJKWWRROGRHVDWHUULÀFMRERI interesting new phase WKRVHMREVZKHUHRQO\3KRWRVKRS Photoshop CC
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CAMERA SKILLS
IN
PRINTER CLASS PRINTER
The ball head may be rather small,

but it clamps down securely and
holds a camera rigidly in place
NIKOPEDIA
Canon PIXMA Canon PIXMA

Pro-1 £695, $999 MG6250 £145, $150
Q&A
Black and white or colour? Glossy or matte? This An A4 photo printer that excels in every area,
A3+ printer aims to give you the best of everything there’s a lot to love about this Canon
With 11 pigment-based magenta, yellow and red. In You already know that A4 printers, brings the prospect
inks plus a ‘chroma VKRUWWKH3URDLPVWRJLYH\RX Nikon makes the best of high-quality black-and-white
optimizer’, which works in the best of both worlds – black FDPHUDVLQWKHZRUOGEXW&DQRQ photo printing as well as an
essentially the same way as a and white and colour. With the holds its own when it comes to extended colour range.
JORVVRSWLPL]HUWKH3URKDV combination of pigment-based printers. This Wi-Fi all-in-one
a class-leading 12 cartridges inks and the chroma optimizer, LVIXOORIUHÀQHPHQWZLWKERWK Performance
under the cover. Going one it seeks to prove itself equally pigment- and dye-based black &RORXUUHQGLWLRQLVDFFXUDWH
EHWWHUWKDQWKH(SVRQ5LW well on matte and glossy media. inks, the former making it ideal DQGWRQDOÀGHOLW\LVLPSUHVVLYH
features three grey cartridges for printing documents. Auto in shadows and highlights.
Performance
GEAR CRAFT
plus both a photo black and GXSOH[&''9'SULQWLQJDQGD Landscapes look vivid yet
matte black. Better still, both 7KH3URGHOLYHUVÀQHFRORXU touch panel where icons light up entirely natural, while skin
black inks have their own and black-and-white prints. only when they’re active make tones are simply beautiful.
separate channels within Glossy prints are silky smooth WKH&DQRQHDV\WROLYHZLWK There’s a greenish cast to black-
the print head, so there’s no and matte ones are exceptional. You can keep your plain paper and-white photo prints in the
wasteful purging required when The only sticking point is the stashed in a slot-in lower tray standard quality setting, but it
swapping between glossy and price. It’s expensive, and a full and reserve the upright rear disappears if you switch to high
matte media. set of ink cartridges will set you feeder for photo paper. The quality. Alternatively, you can
2WKHULQNFRORXUVDUHF\DQ back about £275. It’s also slow at addition of a grey dye-based ink select greyscale printing but this
photo cyan, magenta, photo outputting small-format prints. cartridge, almost unheard of in is more than 2.5 times slower.
FEATURES FEATURES
OVERALL OVERALL
Superb colour and dramatic black and WE SAY… It’s currently the best From landscapes to portraits, the WE SAY… Stunning output from
white are guaranteed on any media photo inkjet printer you can buy MG6250 takes everything in its stride an A4 photo printer

9001
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Chris George, Series Editor

Future Publishing Limited

Series Editor Chris George chris.george@futurenet.com

FUTURE PUBLISHING LIMITED

CIRCULATION & MARKETING

PRINT & PRODUCTION

Senior Licensing and Syndication Manager

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All information contained in this magazine is for informational

© Future Publishing Limited 2015. All rights reserved. No

4 The Ultimate Nikon SLR Handbook: Volume 3 2015

else can help, ask Chris!

6 The Ultimate Nikon SLR Handbook: Volume 3 2015

2015 The Ultimate Nikon SLR Handbook: Volume 3 7

fit with our crash course!

8 The Ultimate Nikon SLR Handbook: Volume 3 2015

WHAT YOU’LL LEARN…

DAY 1 DAY 2 DAY 3 DAY 4 DAY 5

2015 The Ultimate Nikon SLR Handbook: Volume 3 9

EXERCISES IN Every action has consequences

The secret to exposure is learning

useful for really long exposures.

TECHNICAL BRIEFING #01 T

10 The Ultimate Nikon SLR Handbook: Volume 3 2015

Seeing in the dark

2015 The Ultimate Nikon SLR Handbook: Volume 3 11

IMAGE BY CHARLES HILDRETH

they have bigger sensors, which

Just because something is out of focus,

backgrounds. Two really under the nose and adds a real

TECHNICAL BRIEFING #02

Aperture is the way of controlling depth of

12 The Ultimate Nikon SLR Handbook: Volume 3 2015

2015 The Ultimate Nikon SLR Handbook: Volume 3 13

DAY 3 STILL LIFE

ocusing is easy to master trust the

KIT INSPECTION TECHNICAL BRIEFING #03

14 The Ultimate Nikon SLR Handbook: Volume 3 2015

f/1.4 used here has a

2015 The Ultimate Nikon SLR Handbook: Volume 3 15

faster shutter speed than for a

IMAGE BY PHILIP PLATZER

TECHNICAL BRIEFING #04

The standard way of working out which

if using a 50mm lens, you need to use a

shutter speed of 1/50 sec or faster. For a

500mm, use a minimum of 1/500 sec.

If you use a DX camera, you need to take

the crop factor into account and multiply

the shutter speed by 1.5, so use 1/750 sec

16 The Ultimate Nikon SLR Handbook: Volume 3 2015

2015 The Ultimate Nikon SLR Handbook: Volume 3 17

To be effective in the dark you need to

oo many photographers Boosting the camera’s electronic

KIT INSPECTION TECHNICAL BRIEFING #05

18 The Ultimate Nikon SLR Handbook: Volume 3 2015

If you struggle to switch the ISO