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Perfect Exposure inside

GEAR OF
GO BEYOND THE MANUAL! THE YEAR
SPECIAL!

Practical tips to transform your photos

Setting up Focusing Exposing
Customising Troubleshooting
BIG TEST
NIKOPEDIA

Every DX-format Nikon

Nikon expert Michael Freeman explores reviewed and rated
how to make the most of depth of field
ESSENTIAL TECHNIQUES

The momeent you’re on land

you’re vullnerable. If a hippo
attacks you’re
you re in danger – no
photo is worth soomeone’s life Quick and easy group shots, champagne
Lou Coetzer, wild
ildlife photographer p80
80 aabstracts and fantasticfireworksphotos!
fantastic fireworks photos!

BE INSPIRED FILTER FILTER CHILD’S PLAY

Behold the year’s The six best filter Discover the keys to
best landscapes! p20 kits compared p114 candids of kids p52
 WELCOME TO ISSUE 41 OF…
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■ There’s no such thing as a free lunch, right? Well, maybe
not. But there is such a thing as a free book. To celebrate
the festive season, and to say a massive thank you for your
support and custom over the last year, we’re giving away a
digital edition of Michael Freeman’s superb, bestselling
guide to exposure. <ou can Ànd out more on page .
If you prefer your nuggets of wisdom to be bite-sized,
don’t miss Rod Lawton’s fantastic feature on 101 Nikon
Secrets – even if you think you know your Nikon inside
out, I guarantee there’ll be things here you didn’t know.
In fact, consider it a challenge!
And last but not least, we
celebrate the best cameras
and accessories of 2014
with our annual Gear of the
Year Special – turn to page
 to learn which camera
took top honours.
And speaking of top
honours, thanks to you
we recently bagged the
coveted Pixel Trade Award
for Photography Magazine
of the Year for the third
year running, which made for a
nice early Christmas present. Thanks
again, and happy holidays from us all!

Paul Grogan, Editor

ABOUT THE COVER paul.grogan@futurenet.com
Title A winter morning at Abraham Lake
Photographer Kevin McNeal
Description Abraham Lake is known for its
unusual patterns found in winter caused by
the colder temperatures. You can access it
for most of the winter and walk around to
Start 2015 in style!
find interesting compositions such as ice
■ Got a new Nikon for Christmas, or an upgrade, and looking
bubbles and ice patterns. I liked the way the for some inspiration? UK readers can now get print and digital
ice patterns formed an S-curve leading to the
subject. The stunning blues in the foreground editions of the magazine bundled together for one great low
complemented the nice warmer tones in the price. And we’ll even throw in a fantastic Manfrotto camera
sky. To accentuate the S-curve I got as low as
possible to exaggerate size and really pull the bag worth £69.99! For more details turn to page 40 or visit
viewer into the image.
Website www.kevinmcnealphotography.com
www.myfavouritemagazines.co.uk/NPHSUBS
wwww.nphotomag.com
ww.npphotom
magg.ccom
m
 For more contents
listings go to page 5
ISSUE 41 JANUARY 2015

COVER FEATURE

101 Nikon Secrets

Quick and easy ways to get more from your Nikon,
whatever your level of expertise or favourite subject!

Nikon Skills Nikopedia Essentials

44 Capture a cracker
COVER FEATURE
Take great festive group shots of
70 20 Lightbox
COVER FEATURE
Winning images from the Landscape
your friends and family this Christmas Photographer of the Year 2014 competition

Reach for the stars

48 COVER FEATURE
Capture sharp, perfectly-exposed
photographs of exploding fireworks
40 Subscriptions offer
Subscribe to N-Photo’s print or digital
edition, or snap up a brilliant bargain bundle!

50 Sharpen details
Sharpen images in Camera Raw
Nikon Know-how
60 Over to You
Three photo stories packed with
without bringing out unflattering details

Stitch up your kids

70 COVER FEATURE
Michael Freeman takes an in-depth
brilliant shots, plus all your rants and raves

The N-Photo Interview

52 COVER FEATURE
Set up a basic studio in your front
room and create a fun photostitch
look at depth of field: how you can control
it, and how to use it more creatively 80 COVER FEATURE
Wildlife pro Lou Coetzer talks lenses,
cameras and the hazards of shooting hippos!
Your free book!
54 Feel festive with fizz
COVER FEATURE
Take a seasonal picture with a
74 COVER FEATURE
Find out how to download your free
copy of Michael Freeman’s Perfect Exposure 90 International print subscriptions
If you live outside the UK you can
difference: through a glass of bubbly! make a big saving on the cover price here

56 Create a bigger bang

One or two fireworks not enough?
76 Nikon Software
Explore Capture NX-D’s tools for
converting RAW files singly and in batches 121 Next issue
The good stuff doesn’t end with this
Create a composite image in minutes issue – here’s something to look forward to

58 Pass the drive test

Discover the drive modes available
on your Nikon, and when to use each one
78 Ask Rod
Can’t choose a lens? Flash causing
you problems? Whatever your question,
Rod Lawton is the man with the answer!
122 My Best Shot
Discover the poignant image that
is travel pro Steve Davey’s favourite shot

4 January 2015 www.digitalcameraworld.com

 EXPERT HANDS-ON VIDEO GUIDES
When you see this button use
this web link… http://bit.ly/NPhoto41
to view our online videos

COVER FEATURE
Feast your eyes on shots from 2014’s Landscape
Photographer of the Year competition
Take great group Capture all the
01 shots of friends and
family over the holidays
02 excitement and
colour of fireworks

Sharpen an image Set up a studio in

03 in Camera Raw
without adding artefacts
04 your front room and
get the kids to pose!

COVER FEATURE
2XUSLFNRIWKHÀQHVW1LNRQÀWFDPHUDNLW
and accessories from the past year

Test Team 05 Take an unusual

party photograph 06 Get a bigger bang by
making a firework
Big Test
92 COVER FEATURE
Nikon’s DX-format cameras include
its most affordable SLRs, and some of its 92
through a glass of fizz composite in Photoshop

newest. We explore, rate and compare all

five of the company’s current DX offerings
107

107 Gear of the Year

Our pick of the very best Nikon-fit
camera equipment from 2014 – and it was
a great year to be a Nikon user! 114
Discover your Nikon’s Convert your RAW
114 COVER FEATURE Mini Test
From budget offerings to pro-quality
07 range of drive modes,
and when to use them
08 files to JPEGs for
much wider compatibility
with price to match, we’ve got the filter
system to suit you in our roundup

www.digitalcameraworld.com January 2015 5

 The team posed together for a photo this issue Print 23,929
– so what are their top tips for group shots? Digital 6,767
The ABC combined print, digital and digital
publication circulation for Jan-Dec 2013 is

30,696
A member of the Audited Bureau of Circulations

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Tripods and small children don’t There are all sorts of lights in Chris George Group Editor-in-Chief
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running around the place. change the white balance later.

This issue’s special contributors…

Chief executive Zillah Byng-Maddick
Non-executive chairman Peter Allen
&KLHIÀQDQFLDORIÀFHURichard Haley

Tel +44 (0)207 042 4000 (London)

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6 January 2015 www.digitalcameraworld.com

T

NAME Sarah J Thomas

CAMERAS Nikon D810
■ Sarah, who’s from Penarth,
near Cardiff, specialises in
shooting natural portraits
of children on location. She
established her photography
business in 2007, but has over 25
years’ photography experience.
As well as being a full-time child
portrait photographer, Sarah
also runs small group workshops
to help aspiring or established
photographers build on their
skills. To find out more go to
www.sarahjthomas.com

8 January 2015 www.digitalcameraworld.com

 Child photography masterclass

NAME Mandi McCabe

CAMERAS Nikon D3100
■ Charity admin manager
Mandi McCabe invested in her
Nikon D3100 15 months ago and
has never looked back. Being
a mother of three with three
grandchildren, Mandi wanted to
learn how to take better portraits
of her family. Mandi’s interest in
photography began back in the
1970s at school when she would
develop her own rolls of film.
Although her interest in digital
photography is relatively new,
Mandi has a great grasp of the
basics of photography.

The secret to getting natural-looking shots of kids, says

child photographer Sarah J Thomas, is having fun, as
she explains to this month’s Apprentice Mandi McCabe

www.digitalcameraworld.com
cameraworld.com January 2015 9
EXPOSURE 1/60 sec, f/5.6, ISO500
LENS Nikon AF-S 50mm f/1.8G

Columns and posing

Here, Sarah positions Lily
against a column. Not only is
the light good from this point
but it also means Lily won’t
move around too much from
the spot. If you give a child
something to lean against
they’re more likely to stay in
position for longer (although
this is not guaranteed!).

At ease
Lily is very shy, and like most
children nowadays she is well
aware of what a camera is. It
can take a little while to get
them to relax and start acting
and posing more naturally.

10 January 2015 www.digitalcameraworld.com

 Child photography masterclass

EXPERT INSIGHT TECHNIQUE ASSESSMENT

LIGHT AND POSITIONING Work first, then play!
You can’t hang around when photographing kids.
Was Mandi’s camera ready to start the shoot?
Sarah prefers to shoot using natural light as it
enhances her organic style out on location. As
she’s talking and engaging with the child she’ll RAW vs JPEG
be turning them around to see how the light is Sarah says…
falling on their face. In this indoor location she Although Mandi
places Lily next to the large window and chats was used to
to her to make her feel more comfortable and shooting in JPEG, by
less conscious of her new surroundings. switching to RAW
she’ll get far more
from the image file
at the editing stage. This includes being able to
correct the white balance setting and tweak the
exposure. As you have to be fast with kids it pays
to shoot in RAW to have that extra flexibility.

Manual control
Sarah says…
I like to shoot in
Manual mode as
that way I’m in
complete control of
OUR APPRENTICE SAYS… my exposure. I also
find Auto ISO a very
Our first location at Dyffryn
useful feature as I can set my shutter speed and
Gardens (www.nationaltrust.org.
aperture, leaving my camera to balance the ISO
uk/dyffryn-gardens/) was inside its
(see feature, page 31). This is particularly useful
spectacular Victorian mansion. Large
when shooting in changing natural light, where I
windows lined one side of the room so
know what depth of field I want to achieve.
Sarah showed me how to use them as an effective
natural light source. Our first model was three-year-
old Lily, who was very shy initially. Sarah used props
to grab Lily’s attention and help her overcome her Focus options
shyness. Lily’s mum had packed a variety of dresses Sarah says… When
and Sarah asked Lily which one she wanted to wear, it comes to focusing
making Lily instantly feel more comfortable. I switch between
the single AF
setting and Nikon’s
AF-C (Continuous
Servo AF) feature. If
PRO’S KILLER KIT #01 NIKON AF-S 24-70mm f/2.8G ED there’s lots of movement I’ll opt for the latter.
That way my camera’s focus is tracking the
children as they play. (For more on shooting
Sarah says… A
modes, turn to page 58.)
versatile zoom lens
such as a 24-70mm is a
worthwhile investment.
When photographing
kids outdoors they move
THE PRO’S KIT
Sarah has lots of treats and
around a lot so you need
goodies hidden inside her kit
to be fast. Having the
bag! She uses a range of lenses
f/2.8 setting is essential,
including a Sigma 70-200 f/2.8,
as not only does it
a Nikon 24-70mm f/2.8 and a couple of prime
produce that idyllic
lenses. Sarah recently invested in a Nikon D810,
softened background
and has a Nikon D700 as a back-up body. Also on
effect, it also greatly
hand to help her out are lots of sweets and toys,
helps in low light.
including a cuddly teddy bear!

www.digitalcameraworld.com January 2015 11

OUR APPRENTICE SAYS…
After spending about half
an hour inside with Lily we
headed outdoors. With young
children it helps to move around
and change the scenery as they
have short attention spans. This time we used
the columns in a stone garden setting to our
advantage. Lily has a classic look, which goes
perfectly with this set-up. The sunlight was
positioned behind Lily, catching the top of her
hair. Although this can look effective, Lily has
very light hair, and Sarah warned me to check I
wasn’t blowing the highlights in my image. We
moved Lily back a few inches into the shade,
and I managed to capture this moment of her
looking off into the distance.

Get on their level

Sarah advises Mandi to get down low so she’s
shooting at eye level, as this creates a more
engaging image. Child photographers spend
most of their time on the floor!

PRO’S KILLER KIT #02

SWEETS!
Sarah says… Kids love sweets and Shoot in
they’ll respond much better to you if you
can bribe them! At the beginning of the
the shade
Although natural
shoot I tell them I have a special treat,
light is the easiest
and if they behave they’ll get a reward.
to work with you
Of course, I always check with parents
still have to be
first if this is okay.
aware of a few
things. If you place
a child in direct
sunlight, they ‘ll
squint, ruining
the shot. Sarah
suggests to Mandi
to find large areas
of shade to work
with where the
light is much softer.

12 January 2015 www.digitalcameraworld.com

 Child photography masterclass

PRO PORTFOLIO
PLAYFUL MOMENTS
Here’s a small selection of magical childhood
moments from Sarah’s portfolio

Vineyard magic
This image was captured in a vineyard at ‘golden
hour’ during my last workshop. My aim was to use
the leading (but softened) lines of the vines to
draw you into this image of a tender moment
between mother and daughter.

Playtime
The wood was filled with magical spots of light
falling between the leaves of the trees, which
EXPOSURE 1/160 sec, f/4, ISO400
helped me capture this atmospheric but natural
LENS Nikon AF-S 24-70mm f/2.8G ED
shot of a little girl at play. Moments like this really
evoke the magic of childhood for me.

PRO’S KILLER KIT #03

SIGMA 70-200mm f/2.8 EX DG MACRO HSM
Sarah says… A long lens such as
a 70-200mm is great for portraits.
You can throw the background out
of focus and the long focal length is
excellent for flattering facial features.
When using a long lens you need to
make sure your shutter speed is fast
Superman!
This setup really reflected the personality of this
enough to compensate for the focal
cheeky little man. I wanted ‘Superman’ to pop
length. For example, at 200mm you
from the frame, so used a long lens and a very
want to shoot with a shutter speed
shallow depth of field to make the neutral-
of at least 1/250 sec.
coloured background melt away.

www.digitalcameraworld.com January 2015 13


Warm it up
Give your images a
magical glow in Photoshop
– see the walkthrough
opposite for how to do this.
PRO’S KILLER KIT #04 WOODEN BOX
Sarah says… A simple wooden
box can make a massive difference
to the end result. It also means you
can position your model where
you want them to sit. A child like
Archie, who is two years old, is
going to struggle with direction.
Using the box, we can be sure he’ll
sit still in the spot where the light
and composition are good.

14 January 2015 www.digitalcameraworld.com

 Child photography masterclass

OUR APPRENTICE SAYS…

Like Lily, two-year-old Archie was
shy to begin and wasn’t that keen
on smiling! Although we did manage to get
Archie to smile eventually, Sarah showed
me that you don’t necessarily have to have
them grinning to get a good shot. Pouting faces and big
lower lips can also reveal the child’s personality! This
vineyard archway created a natural frame for Archie to
sit under, and the teddy bear adds that extra touch.

EXPERT INSIGHT WARMING UP

Lower the tone Use a rug

Wee and poo jokes Give yourself a bit
always go down of comfort and 01 Raw adjustment
very well with small save your clothes Open your shot in Camera Raw. You can adjust the
children. It’s a quick from getting dirty Temperature slider to warm or cool your image. We
and easy way to get by investing in a want to warm it up. Make any necessary adjustments
a smile, but Sarah rug. By coming to the exposure sliders. Press Open Image.
recommends that down low you’ll be
you check with the able to capture
parents first if toilet much stronger
humour is acceptable! compositions.

02 Soften contrast, add warmth

In the main editor add a Curves adjustment layer.
EXPOSURE 1/640 sec, f/2.8, ISO800 Push the bottom-left corner of the graph up to the
LENS Nikon AF-S 24-70mm f/2.8G ED quarter mark. Under the RGB tab change the setting
to Blue and pull the right-hand corner down a little.

Against the clock

When photographing
young children there is
only so long they will
last on the shoot so you
have to work fast. For a
two- or three-year-old
you’ll be stretched to
get them to pose much
past an hour. They are
03 Balance colours
Add a Colour Balance adjustment layer. From the
also easily distracted by
drop-down box select Shadows. Pull the Red and
many things, so it’s vital
Blue sliders in to cool the shadows. Click on Highlights
that you are prepared,
and turn the Yellow channel up to warm the image.
with props that will be
of interest to them.

www.digitalcameraworld.com January 2015 15

THE APPRENTICE

OUR APPRENTICE SAYS…

Our last model of the day
was Lily-Anne. Lily-Anne
was very excitable when we
started the shoot and kept
moving towards me! This meant
I had to be fast in getting my shot before she
moved again. We tried a few different poses
with her looking into the camera and away.
The shot that worked for me was when she
stared straight down the lens. It was vitally
important that I kept her eyes sharp to have
the maximum effect.
EXPERT INSIGHT SHOOTING SHALLOW
Sarah prefers shooting with a very wide
aperture setting to soften the background
and give her images that dreamy appeal.
She finds primes particularly good for this,
as they’re usually able to open wider than
a zoom lens. But shooting at such a wide
aperture setting means Sarah has to be
spot-on with her focusing. Eyes are the
most important element to keep sharp,
while everything else can soften and blur.

Backlighting beauty
When the light begins to drop, it’s the perfect
time to shoot with the light behind or to the
side of your subject. Backlighting creates a
halo of light around your subject’s head,
highlighting the edges of the hair. Although
the lens flare captured in the image below is
technically a flaw, in these circumstances it
produces a wonderfully atmospheric photo.

Accessories,
PRO’S KILLER KIT #05 hats and scarves
Introducing props such
NIKON AF-S 50mm f/1.4G as a hat or scarf can
enhance the shot. Just
make sure the eyes are
Sarah says… I have couple of prime lenses
not in shadow if the hat
in my kit bag, but my nifty fifty gets used
has a peak or brim. A
the most. On a full-frame camera a 50mm
reflector can come in
lens best replicates what the human eye
handy to bounce a little
sees. At the widest aperture setting of f/1.4
light back into the face
you have to be spot-on with your focusing.
if this is the case.
This is best to use when shooting head-
and-shoulder portraits.

Leading lines
There are lots of compositional tools in
everyday settings that work well for taking
portraits. Brick walls, tiles and wooden
cladding (as in our Hot Shot), to name just
a few, all work well for this type of pose.
The lines lead into the face, which should be
positioned around two-thirds into the frame.

16 January 2015 www.digitalcameraworld.com

EXPOSURE 1/800 sec, f/2.8, ISO800
LENS Nikon AF-S 50mm f/1.8G

www.digitalcameraworld.com January 2015 17

THE APPRENTICE

THE FINAL ASSESSMENT…

■ For the final shot of the day Sarah got Lily-Anne to spin around on the spot. With the soft
sunlight positioned behind her, they managed to capture this beautiful atmospheric glow.
Mandi adjusted her focus setting to AF-C in order to track Lily-Anne as she span, and set the
camera to fire in continuous burst mode for a sequence of images.

OUR APPRENTICE SAYS…

Thanks to Sarah’s advice I managed to
come away with some great shots. I
learnt so much, from understanding how to
interact with the children to gaining some
technical expertise. I can now put into practice
what I learnt on my grandchildren. I particularly like this
final image of Lily-Anne. Due to her outgoing personality
this final set-up shows her energy and sense of fun.

OUR PRO’S VERDICT

Mandi has a natural eye for composition
and a friendly manner with the
children. By working on her technical
knowledge she will progress greatly. For
this final image we had soft light working in
our favour, and Mandi managed to capture this wonderful
sequence, putting all we’d covered into practice.

NEXT MONTH NEW WAVE PHOTOGRAPHY!

Seascape specialist Jayne
Odell gives our Apprentice a
masterclass in capturing the
ocean, and making the most
of coastal colour and light.

ISSUE 42 ON SALE
15 JANUARY 2014

WOULD YOU LIKE TO BE OUR NEXT APPRENTICE?

Do you want to take your photography to the next level and learn first-hand from
a top-flight pro? If you’d like a chance of being our next N-Photo Apprentice, let us
know what you’d like help shooting and your full contact details. Email us at
mail@nphotomag.com, with ‘Apprentice’ as the subject line, or fill in this form…

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RETURN THIS FORM TO… The Apprentice, N-Photo Magazine, 30 Monmouth Street, Bath BA1 2BW, United Kingdom

18 January 2015
EXPOSURE 1/3200 sec, f/2.8, ISO400
LENS Nikon AF-S 24-70mm f/2.8G ED
 The winners of the 2014 Landscape Photographer of the Year have
been announced. Here are our favourites from Nikon photographers
 01 Heather in bloom,
Roseberry Topping
John Robinson, UK
Winner, Countryside is GREAT Award
The setting sun dropped below the
cloud, transforming this scene. I’ve
visited this location on the North York Moors
a few times; the best time is during the late
summer months when the heather is in full
bloom. I shot seven bracketed exposures,
processed them in Capture NX2 and merged
them Photoshop, then adjusted the luminosity
and contrast to regain the original mood.
www.johnrobinsonphoto.com

Nikon D800E, Nikon PC-E 24mm f/3.5D ED FX, seven

exposures from 1/15 sec-4 secs, f/11, ISO100
 02 Cheddar gorgeous
Mirek Galagus, UK
Commended, Adult Classic View
When I’m visiting my family in Bristol,
I use the opportunity to visit nearby
landmarks, and Cheddar Gorge is one of my
favourites. The sunset on this evening was
nothing spectacular, so I decided to wait for
the twilight instead. There were enough cars
on the curving road below to create light
trails. I shot three horizontal frames, and
then stitched them to create the vertical
panorama in Photoshop.
www.maglightscapes.com

Nikon D800, Nikon PC-E 24mm f/3.5D ED FX, 41 secs,

91 secs and 254 secs, f/11, ISO100, Lee 0.6 ND grad
 Inspirational images LIGHTBOX

03 Dawn light
Derek Gould, UK
Commended, Adult Classic View
I walked in darkness with the aid of a
headlamp from Grasmere in Cumbria
up towards Easedale Tarn, Ànding a good
viewpoint over the Easedale valley. In the
unsettled weather a good result seemed
unlikely, and I was about to head back down
for breakfast when, just after sunrise, a Ànger
of sunlight broke through the cloud.
www.ephotozine.com/user/dgould-232108

Nikon D700, Nikon AF-S 70-300 f/4.5-5.6G IF ED VR FX,

1/60 sec, f/11, ISO200, 0.6 ND grad filter

04 A beginning and an end

Mark Littlejohn, UK
Winner, Landscape Photographer of the Year 2014
I’d gotten up at 1.30am to drive to
Glencoe. The rain was torrential, and
as I waited for gaps in the weather I saw this
wee stream form high up on Gearr Aonach.
With more squalls coming through I decided
to take a quick handheld shot as the light
became slightly more diffuse.
www.facebook.com/markljphotography

Nikon D800, Nikon AF-S 85mm f/1.4G FX, 1/320 sec,

f/5.6, ISO800

www.digitalcameraworld.com January 2015 23

LIGHTBOX Inspirational images

05 Derwentwater reflections
Ross Hoddinott, UK
Highly commended, Adult Classic View
An early start on a perfectly still October morning
at Derwentwater produced this image. There
were enough gaps in the cloud to allow a little light
through, resulting in lovely light play on Catbells Fell.
www.rosshoddinott.co.uk

Nikon D800, Nikon AF-S 24-70mm f/2.8G ED FX, 5 secs, f/16, ISO100,
0.6 ND grad

06 Freathy Beach, Cornwall

Jeremy Barrett, UK
Commended, Adult Your View
I shot this with the D-Day celebrations in mind, as
a tribute to those involved. To get the perspective
I wanted, I donned a pair of chest waders and stood in
about two-and-a-half feet of water.
www.vuzephotography.co.uk

Nikon D800, Zeiss Distagon T* 21mm f/2.8 ZF.2, 1 sec, f/16, ISO100,
Lee ProGlass ND and ND grad filters

24 January 2015 www.digitalcameraworld.com

 07 Lancaut Peninsula
Harvey Lloyd-Thomas, UK
Highly Commended, Adult Your View
On a January morning following a cold,
clear night, I knew conditions were
ideal for temperature inversions over the
rivers Wye and Severn. At Lancaut the
meander in the Wye and surrounding cliffs
act as a natural bowl, where cold air collects
and mists form. The Wye forms the border
between England and Wales, and the shot
was taken from Monmouthshire looking
across the river into Gloucestershire.
www.casgwent.com

Nikon D700, Nikon AF-S 70-300mm f/4.5-5.6G IF ED VR FX,

1/250 sec, f/11, ISO200
LANDSCAPE PHOTOGRAPHER OF THE YEAR 2014
The Landscape Photographer of the Year competition is now in
its eighth year. All pictures have to be of the UK, but entrants
from anywhere are welcome. The exhibition can be seen on
the Mezzanine level of London Waterloo station until January
31 2015. Admission is free. A book, Landscape Photographer of
the Year: Collection 8 (AA Publishing) is available. The Awards
are held in association with VisitBritain and the Countryside is
GREAT campaign. The 2015 competition will open in the
spring. For information visit www.take-a-view.co.uk
 Inspirational images LIGHTBOX

08 Trebarwith Strand 09 Snow, trees & crows

Marc Elliott, UK
Commended, Adult Your View
Requiring some peace and quiet, I made
my way to this precarious spot and was
treated to this view. Although the colour was
some of best I had seen for a while, I felt that
it took something away from the feel of the
picture, and maybe how I was feeling at the
time, so I converted the image to mono.
www.marcelliottphotography.co.uk
Simon Jauncey, UK
Commended, Adult Your View
This photograph was taken in the
Sidlaw Hills near Dundee, Scotland.
My aim was to use the graphic quality
of the different elements in this image
to emphasise the stark beauty of winter.
The crows represent the soundtrack
in an otherwise silent landscape.
www.simonjauncey.com

Nikon D800, AF-S 24-70mm f/2.8G ED FX, 30 secs, f/14, Nikon D700, Nikon AF-S 24-70mm f/2.8G ED FX,
ISO80, Lee 0.6 hard grad and 0.6 ND filters 1/800 sec, f/4.5, ISO200

January 2015 27
SPECIAL FEATURE 101 Nikon Secrets
Your Nikon boasts many less-well-known features
that make shooting quicker and easier. Here, we
give you the low-down on 101 of them…
erhaps you think you know your
P Nikon inside out? Or, more likely,
you know the features you use
regularly pretty well, but you tend not to delve
deeper into the menus and custom functions?
Whatever your level of Nikon know-how, we
hope – no, we guarantee – that there’ll be
something here you didn’t know already. In fact,
take it as a challenge: if you can’t find anything
in here that you didn’t know before, let us know
and we’ll publish it on our letters page.
Our top 101 includes tips for smarter
everyday shooting, getting the exposure right,
mastering your Nikon’s autofocus system,
28 January 2015
customising your camera, and figuring out
what’s gone wrong (it happens to us too!).
Not all of these tips will work with every
Nikon. Older or basic models will lack some of
the customisation options, for example, but
where relevant we’ve tried to make this clear. If
in doubt, look at your Nikon’s manual – you may
no longer have a full-size printed version, but
you can get these online very easily on Nikon’s
website, or by Googling ‘Nikon DXXXX Manual’,
substituting the number of your own model.
Once you’ve got your PDF manual, you can type
directly into the search box to find specific
features. You’ll be amazed at what it can do...
www.digitalcameraworld.com
 101 Nikon Secrets

www.digitalcameraworld.com January 2015 29

SPECIAL FEATURE 101 Nikon Secrets

CONFIGURING
GOT A FEW MINUTES TOO SPARE? THEN THERE ARE SOME
THINGS YOU CAN DO TOO IMPROVE YOUR PHOTOGRAPHY
WITHOUT EVEN LEAVINGG YOUR LIVING ROOM…

FILE INFO & FORMATS

1
PICK A NUMBER
Your Nikon will number its files in one of two ways:
it can reset to zero each time you insert a memory
card, or it can pick up where it left off. It’s best to
choose the second option, otherwise you could
end up with different photos sharing identical file
names on your PC – never a good idea! Look for the
File Number Sequence option in the Setup menu.

2
MAKE A DATE
Setting the correct time and date on your camera is

a bit of a chore, but you only have to do it once, and it
does matter. The date isn’t visible in your photos,
but it is embedded in the digital data, so if it isn’t
correct, your PC won’t be able to sort your photos
chronologically, and they’ll be harder to track down.
3
STAKE YOUR CLAIM
Nikon’s more advanced D-SLRs (the D7000 and
above) can add your copyright information to every
photo you take (see the Setup menu). It won’t stop
your photos being stolen, but it will help magazines
and websites to track you down as the photographer
so that they can pay you for your pictures!
For printing at home, selecting
sRGB is usually the best option
4 6
sRGB vs ADOBE RGB
Like all digital cameras, Nikon D-SLRs shoot
images in RGB colour, but this comes in two types
(Shooting Menu>Color Space): sRGB is universal
and will display without correction on any device,
monitor or printer, while Adobe RGB is generally
better (but not essential) for commercial printing.
If you shoot RAW, you can choose later.
© Fonzales /Shutterstock
MAKE SOME SPACE
If you are running out of space when there are still
lots of pictures you want to take, and you don’t
want to delete any, don’t change the picture size
from Large (L) to Medium (M) or Small (S). Instead,
reduce the quality from Fine to Normal. Your shots
will still have the highest possible resolution and
you might not even notice the drop in quality.

5 7
SET JPEG AND RAW SEE DOUBLE
Why shoot both JPEG and RAW? Because you’ll be Many advanced Nikon D-SLRs have two memory
able to share the JPEG version straight away, and card slots. These aren’t just to provide extra storage
you’ll still have the RAW file to work on later if you capacity – that’s probably their least important
want to process it. The JPEG (which, remember, is function. They can also be used for backup (keeping
processed in-camera) will also give you a starting a duplicate set of images for safety) and for
point: it gives you something to aim for, and improve separating out JPEG and RAW files. Some cameras
on, when you come to process the RAW file. even let you use two different types of card.

30 January 2015 www.digitalcameraworld.com

 101 Nikon Secrets

SHOOTING SETTINGS
8 9 10 11 12 13 14
KEEP YOUR SHED SOME STAY WITH THE CUSTOMISE SLOW THINGS FORGOT YOUR SHOOT
CAMERA LIGHT PROGRAM WHITE DOWN REMOTE? MULTIPLE
AWAKE Nikons with LCDs on Need a specific BALANCE Not all subjects Use the self-timer EXPOSURES
If you’re walking the top plate also aperture or shutter You don’t have to need your camera’s instead. The default On some Nikons you
around taking shots, have a sprung speed in order to use flash or studio maximum shooting 10 secs is a long time can create so-called
it’s a nuisance to switch around the achieve a particular lights indoors; speed. Sometimes to wait for a macro multiple exposures
find your Nikon has shutter release to creative effect? You domestic lighting is you’ll want to record or night shot, so set in-camera (the
gone to sleep right activate a backlight don’t have to switch fine, but the ‘colour’ slower-paced action the time to 5 secs or number of
at the moment you which makes this from program mode of the light will vary over a longer period, 2 secs instead. Note exposures you can
want to grab a panel easier to see to aperture- or according to the without maxing out that on more basic include in one frame
photo, but you in the dark. You can shutter-priority bulbs used, and this your camera’s Nikon D-SLRs the will vary depending
can change the also set this up to mode. Just turn the will give images a buffer. More self-timer may reset on the model). It can
power-off delay switch on the Info rear command dial colour cast. To advanced Nikon itself after you’ve produce some great
times. On some display on the rear to shift the program address this, take D-SLRs have two used it, so you have effects, but takes
Nikon D-SLRs like of the camera at the to get the specific a Preset Manual continuous shooting to re-activate it experimentation
the D300S, the Auto same time. shutter speed or white balance speeds: CH (full each time. to get right. The
Off functions are aperture you want setting from a piece speed) and CL (a alternative is to
split into different displayed on the of white paper or a slower continuous shoot RAW files and
menus; on others screen. The camera photographic grey shooting speed, then use the Image
(e.g. D3300) they’re will keep the card (available where you can set Overlay option in the
grouped together in exposure in balance cheaply from any the shutter speed Retouch menu to
the Setup menu. all the time. good camera store). you want yourself). combine images.

ISO SETTINGS REVIEWING YOUR IMAGES

15
USE AUTO ISO
The Auto ISO setting is very smart:
it lets you set the maximum ISO and
minimum shutter speed; the camera
will increase the ISO only by as much as
it has to in order to get the shutter speed
you’ve asked for, and won’t let you go
higher than your set maximum ISO.
18
TURN OFF AUTO-ROTATE
By default, your Nikon will automatically rotate images
shot with the camera held vertically so that you don’t have
to turn the camera to view them. You can turn this off,
though – sometimes, you simply want to be able to see
a bigger version of a shot in Playback mode.
20
ASSESS THE EXPOSURE
You can learn a lot from looking at your pictures in Playback
mode, including the distribution of tones in your image via
the Histogram view. To access it, open the Playback menu,
then choose Playback Display Mode/Options. Press up/down
on the navipad to change the display in Playback mode.

16
EMBRACE THE DARK SIDE
Long exposure noise reduction can
reduce digital noise in long-exposure
night shots, but it will double the
exposure time, as it shoots a second
‘dark frame’ after the actual exposure
is taken, to measure noise and then
subtract it from the picture.

17
KEEP THE NOISE DOWN
High-ISO noise reduction can make
your high-ISO images look less noisy,
but it can also smooth out details and
textures. On more basic Nikons, it is
lumped in with the long-exposure noise
reduction feature; more advanced
models let you set it separately.
19
WALLOW IN YOUR WORK
Like to take a long look at your photos after you’ve taken
them? Switch on the Instant Review feature (Playback
menu) and choose a display time to suit. You don’t have to
worry about it being too long, as half-pressing your shutter
release will ready your camera for the next shot in an instant.
21
LOCK YOUR BEST SHOTS
You can do this on the camera so that you don’t accidentally
delete them – it’s what the ‘key’ button is for. This is useful if
you’re in the habit of erasing unwanted pictures as you go. If
you transfer them all to the computer, you’ll be able to see
the ‘locked’ ones and know that they’re your favourites.

www.digitalcameraworld.com January 2015 31

SPECIAL FEATURE 101 Nikon Secrets

EXPOSING
EXPOSURE IS ARGUABLY MORE IMPORTANT THAN
FOCUSING, AND POTENTIALLY MORE DAUNTING.
THANKFULLY, HELP IS AT HAND…

EXPOSURE TIPS

22
CLAIM SOME COMPENSATION
Unusually light or dark subjects can
confuse your Nikon’s exposure meter,
as it will always try to render them as
a mid-tone. In such cases you may need
to apply exposure compensation. It’s
easier that it sounds: apply positive
compensation to let in more light and
lighten the exposure (making subjects
such as snow come out lighter) and
negative compensation to reduce the
amount and so darken the exposure.
23
LOCK THE EXPOSURE
Nikon D-SLRs aren’t like most other
digital cameras – half-pressing and
holding the shutter button will lock
the focus, but not the exposure
(though you can change this is the
Custom Settings). That’s why you
need the AE-L/AF-L button on the
back of the camera. In fact, you can
configure this to lock the focus, the
exposure, or both, using the custom
functions menu.
24
DIAL M FOR MANUAL
If it’s set to any of the auto exposure
modes, your Nikon will measure the
light in the scene and make
adjustments for each shot you take.
This isn’t always a good thing! If you’re
shooting a panorama made up of
overlapping frames, for example, you
need each exposure to be exactly the
same, so shooting in Manual mode
ensures complete consistency
across the whole sequence.
25
GET HELP FROM
YOUR HISTOGRAM
You can display an RGB histogram for
shots you’ve taken using the Playback
display option in the Playback menu.
This shows a histogram for each of
the red, green and blue colour
channels, and it can be more useful
than the regular histogram because
it alerts you to situations where one
channel or colour is ‘clipping’ (under- or
over-exposing) more than the others.

EXPOSURE METERING
26
TRY CENTRE-WEIGHTED METERING
Nikon’s Matrix metering system is super-
sophisticated, so why would you want old-fashioned
centre-weighted metering? It’s because Matrix
metering mode tries to interpret each scene, so it’s
hard to guess what it’s going to do. Centre-weighted
metering is less complex, and so easier to predict.
27
BE MORE AVERAGE
All Nikons offer centre-weighted metering, but
what happened to averaged metering, where the
light across the scene is averaged out? It sounds
crude, but it’s often easier to interpret. Well, on
pro-level Nikons you can customise the centre-
weighted area to produce a fully averaged reading.
28
SELECT THE RIGHT SPOT
Spot metering is useful for taking exposure
readings from a small area of the scene, but do you
know which area? With Nikons the spot reading is
taken from the currently selected AF point, so pick
it with care. (If you’re using Auto Area AF, spot
readings are taken from the centre of the frame.)

32 January 2015 www.digitalcameraworld.com

 101 Nikon Secrets

BRACKETING
29
BRACKET
IN BURSTS
With auto exposure
bracketing, pictures
are taken one at a
time. Switch to
continuous shooting
mode, and when you
press and hold down
the shutter release,
the camera will take
the three shots (or
five if that’s what
you’ve selected) in
your sequence
before stopping.
CUSTOMISING
30 31 32 33
CHANGE THE BRACKET USE WHITE HACK HDR MODE
BRACKETING EXPOSURE BALANCE In-camera HDR is a
ORDER COMPENSATION BRACKETING feature on more
In auto exposure Faced with a tricky Cameras which offer advanced Nikon
bracketing mode the scene, you might exposure bracketing D-SLRs, but if your
camera shoots the know it needs (all but the model doesn’t have
pictures in a specific some exposure D3000-series) also this feature, don’t
order (normal, compensation, but offer white balance worry. It’s possible to
under-exposed, then not how much. One bracketing. In this shoot a sequence to
over-exposed). The solution is to apply mode, the camera create a similar
way the order seems the amount of takes one shot, then effect. Use the auto
to jump about means compensation you processes it with exposure bracketing 39
it’s not exactly think you might need, three different white function (which is KEEP INFO ON SCREEN
intuitive. You can use and then use the balance settings and available on all but It’s quite annoying to have the camera
the Custom Settings bracketing option saves three versions the most basic switch off the exposure display while
menu to change the – the bracketed of the same shot. models) and set an you’re still looking at the shutter speed
shooting order to a shots will be taken exposure step of 2EV. and aperture values. You can, of course,
more logical around your You’ll then get three half-press the shutter button to re-activate
under-exposed, ‘compensated’ exposures two stops the meter, or you can change the power-off
normal, and exposure value, (EV) apart, which you time with the Auto meter-off delay custom
over-exposed raising your chances can blend later on setting on more advanced models.
sequence instead. of getting it right. using HDR software.

LOW-LIGHT & FLASH

For night shots featuring bright
lights, it’s often simpler to use
manual mode and experiment

40
WORK IN HALF STOPS
Old-school film photographers may be
used to setting exposures in half-stop
values, so they may find the one-third
stop increments used by Nikon D-SLRs
annoying. On more advanced Nikons you
can use the EV Steps for Exposure Control
(Custom menu) to switch back to
traditional half-stop increments.

34
TAKE BETTER NIGHT SHOTS
If you’re shooting after dark, your
Nikon’s light meter will struggle to
make sense of the bright lights and
dark shadows. It’s often simpler to set
your Nikon to manual, set the shutter
speed to B (bulb) mode and time your
exposures using trial and error.
35
LIGHTEN UP SHADOWS
Active D-Lighting helps with very
high-contrast scenes. The camera
adjusts the exposure to capture the
highlights, and brings out the shadows
using in-camera processing. The
older D-Lighting tool (found in Nikon
software) simply lightens the shadows.
36
BALANCE YOUR FLASH
The results of using flash are often
harsh and unflattering. Try combining
flash and available light using the
flash’s ‘Slow’ mode. The flash fires
first, but the exposure then continues
to capture the ambient light too (so
you need to keep the camera steady).
37
LEAD FROM THE FRONT
Normally, the flash fires at the start
of an exposure, but if you’re capturing
moving subjects with slow flash this
means you’ll get a blurred movement
train in front of your subject. Instead
switch to ‘rear curtain’ flash mode, so
that the flash fires at the end instead.
41
38 CUSTOMISE EVERY EXPOSURE
TAKE CONTROL OF FLASH If you feel your camera consistently
It’s not easy to get the power of the over- or under-exposes images, you can
built-in flash right, as you’re reacting change its base (optimal) exposure level
to what Nikon’s iTTL flash control by up to +/-1EV for each of the exposure
does, but you can set it manually. Pick metering options. This is not available on
Flash Ctrl for Built-in Flash from the more basic models, like the D3000- and
Custom Settings menu, select Manual D5000-series, but you can still use regular
and choose a power setting. exposure adjustments (see tip 22).

www.digitalcameraworld.com January 2015 33

SPECIAL FEATURE 101 Nikon Secrets

FOCUSING
THE FOCUS OPTIONS AVAILABLE ON NIKONS CAN
BE BEWILDERING, BUT THERE IS METHOD IN THE
MADNESS – LET US EXPLAIN…

AUTOFOCUS

For off-centre subjects, it’s often Live View might be slower

quicker to focus and re-compose for focusing, but it’s ideal for
than to move the autofocus point checking sharpness at 100%

42
LOCK THE FOCUS AND REFRAME
If your subject is off-centre in the frame, you can
move the autofocus point to line up with it – but
most of the time it’s quicker to stay with the centre
AF point, place that over the subject and half-press
the shutter button to lock the focus. Reframe the
shot how you wanted it and press the button the
rest of the way to take the picture.
44
LOCK YOUR AF POINT
It’s also a nuisance to find the AF point has moved
and the wrong part of your image is the sharpest
just because you’ve accidentally pressed the
navipad buttons. Some Nikon D-SLRs, such as the
D300S, have a locking switch around the navipad;
if you flick this switch to the ‘L’ position, the focus
point position is locked.
46
FOCUS IN LIVE VIEW
Focusing in Live View is certainly slower than it is
when using the viewfinder, but it has advantages,
especially when you’re using a tripod. You can place
the focus point where you like in the frame, and you
can zoom right in to check the fine detail, which is
especially useful for shooting close-ups and still
life subjects.

43
CENTRE YOUR AF POINT
If you’re using manual focus point selection
and you’ve moved the AF point off-centre to
photograph a particular subject, it’s a nuisance to
have to keep clicking the navipad buttons to bring it
back to the centre when you’ve finished. Happily,
you don’t have to! Just click the OK button to
centre the AF point automatically.
45
WHY NOT AUTO AREA AF?
Auto Area AF is fine for when you’re shooting from
the hip because it automatically selects the focus
point – and most of the time it’s right, because it
chooses the one over the object nearest the
camera, which is most often the thing you’ll want
to focus on. Where it breaks down is if you want to
focus on something different.
47
GET UP CLOSE
The minimum focus distance on almost all zoom
lenses is constant across the zoom range, so if you
want to fill the frame with a small subject, use the
maximum zoom setting. The standard Nikon
18-55mm kit lens has a 3x zoom range, so at full
zoom you can shoot from the same distance, but
objects will be 3x large in the frame.

34 January 2015 www.digitalcameraworld.com

 101 Nikon Secrets

ACTION STATIONS

48
M/A-M vs A-M
Nikon lenses have a switch for switching between AF
and manual focus, but on some it’s an M/A-M rather
than A-M switch. These offer manual focus override
in autofocus mode – you can half-press the shutter
button to autofocus, then turn the focus ring manually.
50
MAXIMISE DEPTH OF FIELD
Autofocus systems are designed to focus on a single
plane. If you are going for maximum depth of field, you
may need to focus mid-way between two objects, not
on one or the other. Use single-point AF and pick a
mid-point to focus on, or switch to manual focus.
52
FOCUS IN LIVE VIEW
Manual focus may have been accurate with film SLRs,
which had big viewfinders, but it’s not so easy with the
smaller focusing screen in a modern Nikon D-SLR.
However, if you switch to Live View and zoom in, you
can judge manual focus with pin-sharp accuracy.

49
LOCK THE FOCUS
Sometimes you want the accuracy of autofocus, but
the repeatability of manual focus, such as when you’re
shooting a landscape. Leave the lens set to autofocus
to get the initial focus, then slide the switch on the lens
to the M position and the focus will stay the same.
51
INFINITY… AND BEYOND
It can be hard to focus in near darkness. An old trick is
to focus manually and then turn the focus ring until it
stops, assuming that’s ‘infinity’ focus. This doesn’t
work with modern lenses, which have extra travel.
Infinity will be slightly before the ring stops turning.
53
CONFIRM FOCUS
You can also use the electronic rangefinder option to
confirm focus if you’re having problems with focusing.
While the viewfinder display is active, look for the
green AF confirmation lamp in the bottom-left corner
of the viewfinder as you turn the focus ring on the lens.

FOCAL POINTS
54
AF-S vs AF-C
For single-shot
photography, use
the AF-S mode – the
camera’s shutter won’t
release until it’s achieved
focus. For continuous
shooting, use AF-C mode
– the camera will keep
refocusing while you’re
shooting. Not all the
shots will be sharp, but it
will keep firing anyway.
55
FOCUS FIRST OR
FIRE ANYWAY?
On more advanced
Nikons you can use
Custom Settings to
change the Focus
Release Priority. In
single-shot AF-S mode,
for example, you can
ensure it fires the
moment you press the
button, whether it’s
focused or not.
56
FOCUS WITH
YOUR THUMB!
Action photographers
swear by the AF-On
‘back-button’ focusing
option on pro-level
Nikons as it enables them
to separate focusing and
shooting. If your camera
doesn’t have an AF-On
button, you can configure
the AE-L/AF-L button for
back-button focusing.
57
DYNAMIC AREA
AF EXPLAINED
This mode is designed
for tracking fast-moving
subjects using a cluster
of focusing points around
the one you’ve chosen.
These extra focus points
are there to cover sudden
erratic movements, and
it’s still important to
keep the subject under
your chosen AF point.
58
DYNAMIC AREA
vs 3D TRACKING
Nikon D-SLRs have a wide
array of focus modes for
following a moving
subject. Use Dynamic
Area AF if you’re
following the movement
with the camera, and the
3D tracking option if the
camera is static and your
subject is moving around
the frame.
59
HOW MANY
AF POINTS?
Dynamic Area AF lets
you a choose the number
of focus points used. A
smaller number will
make the AF more
responsive, but you
will have to follow the
subject closely. If its
movement is erratic, a
larger number of AF
points will help.

TROUBLESHOOTING
60
MY LENS WON’T FOCUS!
Older Nikon lenses may support autofocus, but not have
AF motors built in; the focus is driven by a motor in the
body. But Nikon D3000-series and D5000-series bodies
don’t have AF motors, so they can’t drive these lenses.
Newer AF-S lenses have AF motors built in so work fine.
61
I’M SURE MY FOCUS IS OUT
If the lens or AF sensor is misaligned, so that even though
the AF point lights up in the viewfinder, the object you
focused on isn’t quite sharp, the AF Fine-Tune function on
Nikon’s enthusiast and pro bodies can correct this. You can
also set up a simple test rig with a steel rule (see issue 13).

www.digitalcameraworld.com January 2015 35

SPECIAL FEATURE 101 Nikon Secrets

CUSTOMISING
SETTTINGG UP YOURR CAMERAA TO REFLECT HOW YOU LIKE
TO TAKE PHOTOGRAPHS TAKEES A BIT OF TIME, BUT IT’S
WORTH THE EFFORT IN THE LONG RUN…

BUTTONS & MENUS

62
SAVE CUSTOM SETTINGS
Different Nikon D-SLRs offer different degrees of
customisation. The D3000-series cameras are
designed for novices – the options are limited and
confined to the Setup menu. The D5000-series
cameras add a Custom Setting menu, the D7000
introduces ‘savable’ C1 and C2 settings, and Nikon’s
Pro D-SLRs have four settings ‘banks’.

63
CREATE YOUR OWN MENU
Fed up of constantly trawling through the menus
to find the option you want? All but the most basic
Nikon D-SLRs have a customisable ‘My menu’
screen where you can add the menu items you use
most often. And if you don’t know what these are,
you can swap this menu to ‘Recent Items’ instead
to see the options you last used.

64
NO COMMENT(S)
You can add an image comment (via the Setup
menu) to your images to provide you with image
information and identification (such as the location
or subject’s name). However, this is not one of the
standard ‘IPTC’ fields used by programs like Adobe
Bridge or Lightroom, so it won’t necessarily show
up on your computer in non-Nikon software.

65
CHECK YOUR BATTERY AGE
Camera batteries do wear out eventually – you
can’t just keep recharging them for ever. But on
some Nikons you can find out the ‘age’ of your
battery (0-4) using the Battery Info command in the
Setup menu – a score of 0 is good, while 4 means
your battery is at or near the end of its life, so it’s
probably time to get a new one.
66
UPDATE FIRMWARE
Your camera’s functions are controlled by an
internal processor and programmed-in ‘firmware’
– it’s like the operating system on a computer.
Periodically, Nikon releases firmware updates to fix
bugs or add features. Updates and instructions can
be found on the Nikon website in the Services &
Support downloads section.
67
SHOOT WITHOUT A MEMORY CARD
With all these configuration adjustments you’re
going to want to check how your camera works
without filling up your memory card with test
shots. Normally, your Nikon won’t fire if there’s no
memory card, but if you change the Slot empty
release lock setting (Setup or Custom Settings
menu), you can shoot as many ‘blanks’ as you like!

36 January 2015 www.digitalcameraworld.com

 101 Nikon Secrets

IN-CAMERA PROCESSING
68
COMPRESS RAW FILES
Nikon RAW files (NEFs) come in two
types (12-bit and 14-bit) and with three
levels of compression (uncompressed,
lossless compressed and compressed).
On more basic Nikons you don’t get to
choose, but on advanced models you
can decide between smaller file sizes
(12-bit compressed) and better quality
larger ones (14-bit uncompressed).
69
TRY RAW RETOUCH
If you shoot RAW files it doesn’t matter
what Picture Control you use, because
you can use the Retouch menu to open
the image up and choose a different
one at any time. While you’re at it, you
can change the photograph’s white
balance setting too. The camera will
then save a new, JPEG copy with those
new adjustments applied.
70
CREATE YOUR OWN
PICTURE CONTROLS
Picture Controls apply particular
‘looks’ to JPEG images processed in
the camera (Nikon’s own software can
replicate these looks from RAW files).
You can create and customise your own
Picture Controls in-camera, and there
is also a desktop utility (Picture Control
Utility) for creating new ones.
71
BUST THAT DUST
All current Nikon D-SLRs have built-in
dust removal systems, and if those
don’t work you can always try manual
cleaning… or you can try Nikon’s
Dust-Off system and fix the problem
with software. You take a reference
photo (Setup menu) which can be used
by Nikon software, including Capture
NX-D, to blot out spots digitally.

SETTINGS FOR DIFFERENT GENRES

72 73 74 75
SHHHH! FINE-TUNE CONTROL SHOOT JPEG
When you’re FOCUS PERSPECTIVE FOR ACTION
shooting in quite TRACKING If you have to tilt the It’s usually best to
quiet environments, Higher-end Nikon camera upwards in shoot RAW files
the autofocus beep D-SLRs have a Focus order to capture a because that can
can be very Tracking with Lock tall subject, you’re give you better
obtrusive, so reduce On feature (in the going to get a shot quality later on, but
the volume (or turn it Custom Settings) with ‘converging if you’re using your
off completely) in the which can help with verticals’, where Nikon’s continuous
Custom Settings sudden and large the sides appear to shooting mode,
menu to avoid changes in subject converge. You could JPEGs, which are
disturbing people or distance. You can invest in an smaller, will let you
wildlife. Some Nikon make the camera expensive shoot for much
cameras have a Q wait for a moment perspective control longer before the
mode to slightly before changing (PC) lens to put this camera’s memory
reduce the focus. This is ideal right, but some new buffer fills up. For
operational noise; in situations where Nikons include a example, the Nikon
this delays the mirror another person or a Perspective Control D3300 can only
return (and piece of foreground option in the Retouch shoot 11 RAW files in
accompanying click) scenery might briefly settings. This can fix a single burst,
Sometimes, camera
until you release the pass in front of both horizontal and compared to up to
silence is golden!
shutter button. your camera. vertical perspective. 100 JPEG images.

TAKING CONTROL OF YOUR CONTROLS

76
PROGRAM YOUR
FUNCTION BUTTON
It’s easy to overlook the function (Fn)
button on many Nikon D-SLRs, and to
overlook how useful it is. On the D3300,
for example, you can set it up to offer
instant access to the image quality,
ISO, white balance or Active D-Lighting
settings. On the D300S it can also be
used for bracketing bursts, depth of
field preview and more.
77
REVERSE YOUR DIALS
If you change the exposure
compensation value on your Nikon, does
the dial seem to turn the ‘wrong’ way?
What about when you’re changing
shutter speed or aperture? If you find
it’s moving in the wrong direction for
you, on more advanced Nikons you can
use the Reverse rotation option in the
Custom Settings menu, or you can
reverse the +/- exposure indicators.
79
MAKE EXPOSURE
COMPENSATION EASIER
Do you use exposure compensation
quite a lot? Are you fed up of having to
hold down the EV compensation button
whenever you turn the dial? There’s an
easy solution. If you switch on the Easy
Exposure Compensation option
(available on more advanced models)
you no longer have to do this, you can
just turn the command dial on its own.
80
SPEED UP ISO CHANGES
Third-of-a-step settings might be useful
for fine shutter speed and lens aperture
adjustments, but who needs it for
making changes to ISO settings?
Scrolling through every intermediate
ISO value to get to the one you want can
be a time-consuming bore, so open the
Custom Settings menu, find the ISO
sensitivity step value, and set it to 1
to make the process much faster.

78 81
SIMPLIFY THE AF ARRAY RESTORE DEFAULTS
If your Nikon has the more advanced If you’ve changed so many options
39-point or 51-point autofocus system, you’ve forgotten where you started,
you may realise that it can be a bit of a you can reset your camera to its default
drag having to scroll through so many settings, but you need to do this in two
of them to get the AF point where you places. The Reset Shooting Menu
want it. However, you can change the command will restore everyday camera
number of AF points displayed. For settings on a superficial level, but you
example, with the 51-point AF system need the Reset (Custom) Settings
you can opt to display just 11. command to restore any customisation.

www.digitalcameraworld.com January 2015 37

SPECIAL FEATURE 101 Nikon Secrets
TROUBLESHOOTING
THINK YOU’RRE DOINNG EVERYTHING RIGHT BUT
SOMETHING’SS STILLL NOT WORKING? THERE’S
USUALLY A GOOD EXPLLANATIOON, SO LET’S FIND IT…
CAMERA ISSUES
82
I SELECT A MENU OPTION,
BUT THE CAMERA IGNORES IT
When you’re in a hurry it’s easy to forget to ‘OK’ a
menu setting you’ve just selected. With Nikons,
simply highlighting a menu option and then
returning to the previous menu isn’t enough –
you have to confirm your choice.
83
MY CAMERA IGNORES MY ISO SETTING
That’s because you’ve got the camera set to Auto
ISO. It may look as if you can still dial in a setting
manually, but the camera will treat this as your
preferred minimum ISO and change it when it wants
to. To regain control, you need to disable Auto ISO in
ISO sensitivity settings (Shooting menu).
38 January 2015
84
MY CAMERA RESPONDS SLOWLY
Some Nikon D-SLRs have an Exposure Delay Mode
designed to minimise vibration in tripod shots – the
shutter doesn’t fire until about a second after the
button has been pressed and the mirror flips up. It’s
easy to forget that it’s switched on, and you wonder
why the camera is slow to fire the shutter.
85
I NEVER GET THE SAME EXPOSURE
TWICE, EVEN WITH THE SAME SUBJECT!
The chances are you’ve left your Nikon set to auto
exposure bracketing and forgotten to change it.
Nikon D-SLRs remember the bracketing setting
even days after you power off (by which time you’ve
forgotten what you did). We’ve all done it!
86
THE FLASH STILL FIRES
IN COMMANDER MODE
Nikon’s Commander mode (on advanced models)
can fire Speedlights remotely via the built-in flash,
but you have to disable the flash in the menus too.
Even then it fires at reduced strength – you can get
red gel flash covers to stop it affecting your lighting.
87
HDR MODE IS GREYED OUT
Newer Nikons have an built-in HDR mode that
automatically combines exposures in-camera to
create a high dynamic range image. But sometimes
you go to use it and it’s greyed out. Why? It’s
because you’ve got the file format set to RAW
and this mode only works with JPEGs.
www.digitalcameraworld.com
 101 Nikon Secrets

IMAGE ISSUES HARDWARE ISSUES

88 91 92 93 94 95
MY SHOTS ARE SKEWED MY SPARE MY SD CARD MY MEMORY THE APERTURE MY FILTERS
Many Nikon D-SLRs now have a digital level –this BATTERY WON’T CLICK CARD HAS CHANGES ROTATE WHEN
displays a ‘horizon’ line on the screen, which is DOESN’T LAST IN ANY MORE EXTRA WHEN I ZOOM I FOCUS
red when the camera isn’t level and turns green AS LONG Check for damage FOLDERS That’s because This is annoying
when it is. Newer and more advanced models Rechargeable to the fine plastic This happens when most zooms have when you’re using
can check fore-and-aft levelling too, and this lithium-ion mouldings around you use the same maximum graduated or
will help you get tall buildings straight. batteries are the contact strips card in different apertures that vary polarising filters,
expensive, so it’s at the end. Some of cameras. Each throughout the which need to be
89 tempting to buy a these can snap off, camera creates zoom range. Let’s rotated to a precise
MY HIGHLIGHTS ARE BLOWN third-party copy to and this can stop its own folder and say you set an position. It happens
It’s a weakness of digital camera sensors save cash. Some the card clicking can’t see the other aperture of f/3.5 on because cheaper
– overexposure leads to permanently blown are perfectly good, into place – you can ones. Then you view your kit lens at its lenses (including
highlight areas. So switch on Highlights via the but cost almost as insert it fully but it the card on your PC, widest zoom the Nikon 18-55mm
Display Mode option in the Playback menu. You much as the real springs out again. see all the folders setting. When you kit lens) use a focus
can press up/down on the navipad to show the Nikon item. Others There’s nothing you and realise that’s zoom in this will mechanism which
Highlights mode, and if areas in the image are are cheaper, but the can do to fix it. It where all the space change to f/5.6 rotates the front
over-exposed they will flash on and off. makers have cut may still work in went! Don’t just because that’s the lens element,
corners with the another camera as delete all the maximum aperture which is what the
components so some are more photos on the at full zoom. When filter mount screws
90 they just don’t have sensitive to this camera, format the you zoom out it will into. You need a
HOW CAN I FIX LENS FLARE? the same capacity. than others. card between uses. revert to f/3.5. different lens!
If the sun is in the frame and creating blobs of
light in the picture, there’s nothing you can do
about it. But if the sun is outside the frame and
creating a hazy washed-out effect, use the lens
hood that came with the lens to shade the front
element, or shade it yourself with your hand,
dark card or anything else you have to hand.

EDITING ISSUES
96
MY COMPUTER CAN’T
READ MY NEF FILES
Did you use an early version
of Nikon Transfer (v 1.x) to
copy them across? It’s
infamous for corrupting the
metadata in photos taken
with later cameras and
rendering them uneditable.
Don’t use it! We always
recommend a card reader
followed by drag-and-drop.
98
MY RAW FILES HAVE
MORE DISTORTION
THAN MY JPEGS
Nearly all lenses produce
some distortion and
fringing, but newer Nikon
bodies can fix both
automatically as they
process the image. This only
applies to JPEG images,
though – RAW files, of
course, remain unprocessed.
100
I’M SEEING SPOTS!
If they’re small, diffuse and
always in the same place in
the frame, they’re spots of
dust on the sensor. Since
today’s Nikon D-SLRs have
automatic dust removal
features, the fact they’re
still there means you may
have to resort to manual
sensor cleaning or removing
them in software (see tip 71).

97
PHOTOSHOP WON’T
OPEN MY RAW FILES
This happens when you’re
using an older version of
Photoshop and you buy a
new camera. When Adobe
releases a new version of
Photoshop it stops updating
the old one. Upgrade, or use
Nikon ViewNX 2 or Capture
NX-D to convert your RAW
files (see page 76).
99
I SHOT IN MONO
BUT IMAGES ARE IN
COLOUR ON MY PC
That’s because you shot in
RAW, and a RAW file contains
all the original colour data.
Your Nikon (and Nikon
software) understands your
Mono Picture Control, but
Photoshop ignores it and
produces a generic colour
rendition instead.
101
MY VIDEO JUMPS
AND STUTTERS
It’s because your memory
card isn’t fast enough, and
this is where you need to
pay special attention to
speed ratings. It’s not about
the card’s maximum speed,
but its minimum ‘sustained’
speed. If you want to shoot
full HD video, look for ‘Class
10’ SD cards.

OUR FINAL TIP... TAKE YOUR PICK!

Modern D-SLRS are complex beasts – scrolling in rocket science to make sense of it all. But of or relevant, and ignore the rest. All the features are
through the numerous menus they feature, and course, you don’t have to use it all, or even half of it there to help make life easier and speed things up,
you’d be forgiving for thinking you need a degree – just pick out the things that you think are useful, so you just need to be sure they do precisely that!

www.digitalcameraworld.com January 2015 39

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ISSUE 40
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ISSUE 34
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ISSUE 28
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 44
Ingenious recipes for
54
WELCOME TO
NIKON SKILLS
Cl ic k on th is we b link
bit.ly/NPh oto41
for you r vi de o
in tr od uc t ion to th is
mon th’s Ni kon skill s
www.digitalcameraworld.com
52
stunning shots
56
THIS MONTH’S PROJECTS…
PROJECT ONE | CAMERA TECHNIQUES PROJECT FIVE | TAKE IT FURTHER
44 Capture a cracker
Preserve the memories of your family
Christmas with your camera and our guide
54 Feel festive with fizz
For a seasonal picture with a
difference, capture a scene in a glass of
to getting perfect group photographs champage, lemonade or other Àzzy drink
PROJECT TWO | SPECIAL EFFECTS PROJECT SIX | CREATIVE PHOTOSHOP
48 Reach for the stars
Discover the easy way to capture all
the excitement of exploding Àreworks
56 Create a bigger bang
Want to capture a whole night of
Àreworks in a single frame? Gather your
shots together in a stunning composite
PROJECT THREE | DIGITAL DARKROOM
Sharpen details PROJECT SEVEN | SYSTEM SPOTLIGHT
50 Learn how to use Adobe Camera Raw
58 Pass the drive test
to sharpen a portrait, keeping skin soft while
bringing out essential detail
Do you always stick with one drive
mode? We look at all the options available
PROJECT FOUR | GEAR SKILLS
so you can get more from your Nikon
52 Stitch up your kids
Set up a simple home photo studio in
your front room and take pro-quality shots
To watch the videos use this
web link… bit.ly/NPhoto41
of the kids, then create a fun photostitch
January 2015 43
NIKON SKILLS Ingenious recipes for stunning shots

THE MISSION
■ Shoot a festive
PROJECT ONE CAMERA TECHNIQUES

Capture a
group portrait with
confidence
TIME NEEDED
■ 20 minutes
SKILL LEVEL

■ Anyone can do it
■ Some tricky aspects
■ Advanced technique
KIT NEEDED
■ Nikon D-SLR
■ Standard or
wide-angle lens
■ Tripod (if you want to
be in the image too!)
NEXT ISSUE…
James Paterson blurs
moving clouds while
tilting at windmills
cracker!
Claire Gillo gathers the N-Photo team together for a festive photoshoot,
to show you how to take fun and memorable group shots this Christmas
Christmas is a time of reunion, take a different approach to each subject is wearing something that
so what better occasion to get arrangement, but there are some clashes with the rest of the group you
your Nikon D-SLR out when your general rules that apply to all. could suggest they put something on
friends and family gather in First, fill the frame as much as over the top.
the same location? It’s a great possible by placing your subjects at Finally always take a few images.
opportunity to capture all your different heights. Large gaps can Due to the nature of a group shot,
loved ones in one place. throw the composition off-balance. there will always be one person
Taking group portraits can be tricky Chairs can be a big help for positioning pulling an awkward face, so you may
for a number of reasons. You need to large groups, and you can sit the older need to swap some heads over in
consider aspects such as clothing, family members down so they’ll be Photoshop! (See page 46.)
background and people’s positions more comfortable. When it comes to At our N-Photo Christmas party we
within the frame. Depending on the clothes, plain block colours work best. had the entire team in front of the lens
size of your group you may need to Avoid complicated patterns, and if one drinking bubbly. Getting your subjects
to hold props, such as champagne
Getting your subjects to hold props, such as champagne flutes or gifts, can add to the end
flutes or gifts, can add to the end result. It makes them feel less result. It makes them feel less
self-conscious and increases
self-conscious and increases the festive look of the image the festive look of the image.

STEP BY STEP All together now, say ‘Nikon...!’

Here’s how to get professional-looking group shots with the minumum of fuss
Preparation is key when it
comes to shooting group
portraits. If you’re
photographing a small
group like ours, add
interest to the frame by
placing objects in the
foreground. We used
crackers, mince pies and
gold chocolate coins on a
reflective surface to add
some festive atmosphere.

01 Background and foreground 02 Lighting options

The background and setting of your group shot is
important and needs careful consideration. To give it
a festive feel, place your subjects in front of a fireplace
or next to a feature in the room that has a Christmassy
look, for example a Christmas tree, and clear away any
mugs, chocolate wrappers or other holiday debris!
For shooting group portraits you have two lighting
options: natural light or flash. Natural is the easiest to
work with. Flash can sometimes take away the warmth
of the glow from candles and tree lights. When using
natural light, set up your shot next to a large window.
It can help to use a reflector to bounce some light back.

44 January 2015 To watch the video use this web link… bit.ly/NPhoto41
NIKON SKILLS Ingenious recipes for stunning shots

USING FLASH
■ If you’re shooting in a
dark room where natural
light isn’t an option, then
you’ll need to use flash. It
helps to bounce the flash
03 Get set for groups 04 Herd your family!
The most important camera settings are your aperture Next, arrange your subjects. We opted for a simple
light against the ceiling or
and shutter speed. Use Manual mode and a shutter speed diamond formation with one person above, one below,
a wall for an even exposure.
above 1/100 sec to compensate for any movement in your and two at each side. Make sure their heads are the same
If bouncing the flash isn’t
subjects. To keep everyone sharp from front to back, set distance from the camera to keep them all sharp. You
possible either, say due to
an aperture of around f/8 (or f/5.6 in low light). Finally, can check this by looking in from the side. Don’t be afraid
high ceilings, then you’ll
bump up the ISO as needed for a correct exposure. to go over and move people where you want them to be.
still need to diffuse the
flash, otherwise it will look
too harsh. Try using a flash
diffuser, the diffuser part of a
reflector or shooting with the
flash off-camera (or combine
all three!).

05 Put yourself in the picture 06 Try some candids

If you want to be in the image too, set your camera up on
a tripod. Put your Nikon into self-timer mode and set it
to the 10-second option. Find a place for yourself in the
frame and make sure it’s easily accessible. We opted to
have two of us standing behind. This arrangement still
balances well with our composition. Finally, say cheese!
Once you’re happy you’ve got a cracker of a group shot,
try shooting some natural festive portraits. Again, get
people to hold props in their hands to add interest and
make them relax more. By interacting with people and
getting them to laugh you’ll find you’ll capture much
better and more natural-looking portraits.

KEY SKILL Off with ’er ’ead!

In Photoshop or Elements,
use layer masks to change
over people’s faces
There’s almost bound to be
one person pulling a funny
face, whether accidentally or on
purpose, so it helps to shoot a few
frames, and combine the images
in Photoshop. This works much
better if you set your camera up
on a tripod as the background will
line up when you blend images
together. The easiest way to swap 01 Drag and drop 02 Tidy up
heads is to use layer masks and Using the hand tool, click and drag the image with the Once you’re happy with your selection, zoom in and
the brush tool to add/remove ‘new head’ onto the main image. Press shift as you let use a smaller white brush to tidy up the edges. Layer
parts of the layer you want to go so they line up. Add a layer mask and press Ctrl + I. masks are non-destructive, so if you go wrong, switch
keep. Here’s what you need to do… Use a white brush to paint over areas you want to swap. the brush to black and paint the pixels back on.

46 January 2015 www.digitalcameraworld.com

NIKON SKILLS Ingenious recipes for creative shots

PROJECT TWO SPECIAL EFFECTS

Reach for
the stars
Paul Grogan shares his quick and dirty
method for shooting fab fireworks photos
Few subjects offer as
THE MISSION much bang for your buck as
■ To shoot fireworks
fireworks – if you’ll excuse the pun.
photos that pop
Fireworks are fast, fun and colourful,
TIME NEEDED and capturing them in camera is easy,
■ As long as the so long as you get the basics right.
show lasts! Get to your location early so you can
scout around for the perfect spot. For
SKILL LEVEL a clean shot you want to be at the
■ Anyone can do it
front of the viewing area, but having
■ Some tricky aspects
said that, including the silhouettes of
■ Advanced technique
spectators at the bottom of the frame
KIT NEEDED can add a sense of occasion, so
■ Nikon D-SLR do think about standing back,
■ Sturdy tripod particularly if it’s busy and you’re
■ Remote release worried about being jostled.
If possible, use a remote release.
You can use your Nikon’s self-timer
NEXT ISSUE… mode to fire the shutter, but a remote
Paul gets in a spin enables you to time your shots more
with spiral staircases precisely. Here’s how it’s done…

STEP BY STEP Be a rocket man (or woman)

Here’s how to shoot whizz-bang fireworks photos this New Year and beyond...

01 Frame your shot 02 Set the exposure 03 Time it right

It can be hard to know how high the fireworks
will go, so if in doubt, attach a standard or even
wide-angle zoom – you can zoom in if they’re not
as high you expect. Include some foreground,
and shoot vertically, unless there’s something
horizontal, like a castle, to include in the frame.
In manual exposure mode, set a shutter speed
of two to four seconds at f/8 and ISO200. If
there’s something, like a castle or skyline, you
want to include at the bottom, increase the ISO
until this is correctly exposed. Once you’re set
up, switch to Bulb mode.
Timing is everything. Listen for the whoosh of
bigger rockets. Open the shutter just before
they explode, keeping it open for two to four
seconds; if you can include two or three in the
frame, so much the better. Beware of including
too many, though, as they will blow out.

48 January 2015 To watch the video use this web link… bit.ly/NPhoto41
 AFTER

THE MISSION
■ To sharpen a RAW
PROJECT THREE DIGITAL DARKROOM

Sharpen details
file effectively using
Adobe Camera Raw
TIME NEEDED
■ 10 minutes
SKILL LEVEL
■ Anyone can do it George Cairns shows how to use Camera Raw to sharpen a RAW file
■ Some tricky aspects
Once you’ve corrected the as facial features. Also, if you shoot are designed to tease out delicate
■ Advanced technique
colours of a RAW file and with a wide aperture such as f/2.8, details in a soft-looking shot. These
KIT NEEDED improved its contrast, you can then key details may blur due to the sharpening tools work by increasing
■ Photoshop move on to sharpening it. It can be shallow depth of field, especially if the contrast around the edges of
Elements 12 a challenge to get your shots looking your subject is close to you. What details in the image, which gives them
sharp for a variety of reasons. For looks nice and sharp on the camera’s more impact. However, when you
starters, many digital cameras have small LCD screen may turn out to look sharpen an image using Photoshop
a built-in filter that slightly softens disappointingly soft when looked at on Elements you also run the risk of
NEXT ISSUE… the image to avoid producing moiré your monitor’s big screen, or in print. exaggerating picture noise and skin
Part one of our brand- patterns in busy textures. This optical Fortunately, Photoshop Elements pores in smooth areas such as your
new Lightroom course! low-pass filter can soften details such has a range of sharpening tools that subject’s cheeks. You may also

50 January 2015 To watch the video use this web link… bit.ly/NPhoto41

BEFORE
introduce unwanted artefacts such as
blown-out highlights, clipped shadows
and ugly haloes to the sharpened areas.
In this tutorial we’ll examine ways to
sharpen a RAW file while keeping all these
unwanted artefacts at bay. We’ll demonstrate
how the Camera Raw editor’s sophisticated
Detail panel enables you to restrict the
sharpening to key areas, while protecting
other sections from being sharpened (and
therefore minimising artefacts).
To download the start images for this tutorial, visit bit.ly/start-41
STEP BY STEP Be more savvy with sharpening
Grab our sample image and try it for yourself – it’s as easy as dragging a few sliders
01 Grab your image
Open portrait.dng, either by getting it from
the cover disc that came with this issue, or by
downloading it from bit.ly/start-41. We’ve already
tweaked the colours and tones in our shot for
this tutorial, but don’t worry, you can still
sharpen the unedited image.
03 Recognise artefacts
To understand how the sliders work, set Amount
to 150. This will increases the strength of the
contrast change around edges. Set Radius to 3.
This increases the spread of the contrast change
around the edges. These extreme settings make
our model’s skin pores all too obvious.
05 Mask it
The Masking slider also helps you to protect
clear areas, such as the skin, from the unwanted
sharpening. Hold down Alt and drag the Masking
slider to the right to see a monochrome preview.
The white areas show you which details are
being sharpened. Set the Masking slider to 75.
Sharpen in Camera Raw
02 Set sliders to 0
Take the Zoom tool and right-click to see the
image at 100%. Hold down the space bar and
drag the image so that you can see the model’s
eyes. Now click the Detail tab and drag the four
sharpening sliders to the left so you can see
exactly how soft the photo really is.
04 Reveal key details
Reduce Amount to 41 and Radius to 1.8. Tick the
Preview box to toggle between a sharpened and
unsharpened version of the image. Hold down
Alt as you drag the Detail slider. The greyscale
preview shows you which details are being
sharpened. A value of 17 works well in this case.
06 Finish editing
Click Done and the changes that you’ve made to
the Sharpening sliders will be stored with the
file. You can then open it in the future and
continue fine-tuning the settings. Sharpening
can create noise, which is why there’s also a
Noise reduction section in the Detail tab.
January 2015 51
THE MISSION
Take studio-quality
PROJECT FOUR GEAR SKILLS

Stitch up your kids

portraits, then stitch
them together
TIME NEEDED
■ Two hours
SKILL LEVEL
■ Anyone can do it
■ Some tricky aspects
■ Advanced technique
KIT NEEDED
■ Nikon D-SLR
■ Flashgun
■ Tripod or light stand
■ White shoot-through
umbrella or similar
NEXT ISSUE…
Six essential tips
for tripod users
James Paterson demonstrates how to turn your living room into a
makeshift studio with the minimum of kit, and then make fun photostitches
You don’t necessarily need a equipment, gather a few outfits or children in-focus. Once the lighting is
dedicated photo studio and props, and set up your flash. all sorted, you can forget about it and
lots of expensive kit to get high- The challenge with portraits of concentrate on engaging with your
quality portraits. With just a children is to capture split-second subject. This issue’s Apprentice,
standard flashgun and a white expressions and action while keeping starting on page 8, has many more
umbrella, you can illuminate subjects the mood upbeat and fun. Flash is a tips on keeping children cheerful and
with soft, attractive lighting and get must, as it means you can use a in position for photos.
professional-looking results in your shutter speed that’s fast enough to We’ll show you how to set up your
own living room. freeze the action. What’s more, with home studio here, then make a fun
Our photostitch project is the flash the light levels you can achieve photostitch. This is the perfect
perfect thing to try out with the kids are enough to enable a lower ISO, for approach for child portraits as it
on a wet afternoon. Simply clear a maximum image quality, and a narrow means you can include several poses,
little space around a plain white aperture for adequate depth of field different outfits and expressions that
wall so you can set up some basic – useful when trying to get moving sum up the child’s colourful character
–plus changing outfits will keep your
With just a standard flashgun and a white umbrella, you can model from getting too bored. A
illuminate subjects with soft, attractive lighting and get photostitch is also very easy to piece
together, even for those with the most
professional-looking results in your own living room basic Photoshop skills.

52 January 2015 To watch the video use this web link… bit.ly/NPhoto41
 Basic home studio

STEP BY STEP Home is where the art is MAKE A STITCH

You should find it fairly quick to set up a studio in your front room – controlling the light is the key IN PHOTOSHOP
CC OR ELEMENTS

■ Open the images. Grab

the Lasso tool, set Feather
to 10px, then drag a rough
selection around a figure.
Hit Cmd/Ctrl+C to copy, then
go to File>New. Make a new
01 Fix the umbrella 02 Set up the living room white document and hit Cmd/
Flashguns are a small light source, so the light is hard and You’ll need a plain wall to shoot against. White or cream Ctrl+V to paste.
unflattering. Fixed in front of your Speedlight, a white is best, but other colours can work too. Clear enough
umbrella transforms the harsh light into a bank of soft, room so that you can shoot from at least a couple of
diffused illumination. Attach your flash to a tripod using metres away; if you’re too close then you’ll have to
the thread in its stand, then rig an umbrella in front of it. use a wide-angle lens, which will result in distortion.

■ Grab the Move Tool, set

Auto-Select Layer and Show
Bounding Box in the options,
then use the tool to position
the first figure and resize it
if necessary. Then simply
select, copy, paste and
position the other figures
in the same way.

03 Get connected 04 Quality counts

If your flashgun is compatible, you can control it wirelessly When using flash, the high light levels mean that you
with your camera’s pop-up flash. If not, use a sync lead or should almost always set your ISO to 100. Use Manual mode,
remote trigger. Go to Menu>Flash Control for Built-In and set your shutter speed to about 1/200 sec. Set the
Flash>Commander Mode. Set Built-in to -- and pick a aperture to f/11 and take a test shot. Adjust the aperture or
■ To finish off, go to
power for Group A. Set the flash to Remote mode, Group A. flash power as needed to get the correct exposure.
Layer>Flatten then grab
the Dodge Tool, set Range
to Highlights and Exposure
to 20%, and paint to dodge
any areas where parts of the
cut-out wall look grey, until
they’re perfectly white.

05 Shoot at eye level 06 Try a wide aperture

Portraits taken at eye level create a connection between
viewer and subject, so when taking photos of children,
get down to their level. It might mean you need to crawl
around on the floor, but it results in much better
portraits than shots taken from an adult’s point of view.
Shoot a selection of poses, then try some close-ups. The
great thing about flash is that it lets you control depth of
field. A high flash power and narrow aperture gives more
depth of field, while a low flash power and wide aperture
makes it shallower, which is ideal for close-ups.

www.digitalcameraworld.com January 2015 53

NIKON SKILLS Ingenious recipes for stunning shots

PROJECT FIVE TAKE IT FURTHER

Get festive
with fizz
Flip party scenes upside-down using James
Paterson’s trick of shooting through a glass of fizz
THE MISSION
■ Shoot a striking and
original abstract image
TIME NEEDED
■ 20 minutes
SKILL LEVEL
■ Anyone can do it
■ Some tricky aspects
■ Advanced technique
KIT NEEDED
■ D-SLR ■ Tripod
■ Champagne glasses
■ Sparkling liquid
NEXT ISSUE…
Shoot brilliant interiors
with our essential guide
It’s not just the alcohol in a glass of
bubbly that can make the world seem
topsy-turvy. When light passes through the
wine, refraction causes it to bend, while the
glass makes it appear upside-down. We can use
this to shoot a fun photo. You could just as easily
use sparkling water for the effect, but as there’s
plenty of champagne flowing at this time of year,
a glass of fizz seems appropriate. The bubbles
add a nice touch, and champagne flutes have an
attractive curvature that can be accentuated by
placing them in a staggered line.
Before you start, think about the scene you
want to capture in your glasses – you don’t
want it to be too cluttered. We shot someone
silhouetted against a bright window so that
she stands out clearly. We also placed the green
wine bottle behind one of the glasses to add a
splash of colour. It’s worth experimenting with
other objects, poses and patterns for your own
take on the refracted and inverted scene.

STEP BY STEP Pour a shot

This technique is brilliant for creative wedding shots too

01 Raise a glass – or several! 02 Line ’em up 03 Set a narrow aperture

Set your camera up on a tripod and position the
glasses in front of it. Think about how you want
the background to look when it’s flipped upside
down. We wanted to make our subject stand out
really clearly, so positioning them in front of a
bright area such as a window was ideal.
You need a lens that will allow you to get close to
the glasses. A macro lens is ideal, but a long zoom
with close focusing will work as well. Experiment
with the position of the glasses and any other
items, such as the green bottle here. Even minute
adjustments can have a big effect on the scene.
With objects close to the camera, depth of field
can be very shallow, so if you want detail in the
foreground and background a narrow aperture is
essential. This will probably mean compensating
with longer shutter speeds and/or higher ISOs.
We set ⅓ sec at f/18 and ISO800 here.

54 January 2015 To watch the video use this web link… bit.ly/NPhoto41
 Images in champagne

PLAY WITH
PATTERNS
■ Here’s another fun way to
play with refraction. Simply
make a black-and-white lined
pattern in Photoshop then
print it out; any office inkjet
printer and plain paper is
fine. Place the pattern in the
background with glasses in
front, making sure they’re as
clean as possible. Fill them
with different levels of water
and experiment with the
distance from the pattern to
fine-tune the effect. If you
want a reflective base like
this, try using a sheet of
glass with a piece of dark
material underneath.

QUICK TIP! I f
you need to use
flash, don’t aim
i t directly a t
the glass as i t’ll
cause reflec tions.
Bounce i t off a wall
or ceiling instead

04 Check what you’re getting 05 Pose and shoot 06 Spot check

Live View focusing is ideal for situations like this
where, due to the layers of transparency in the
image, the AF may snap on to the wrong thing.
Switch Live View on, press the zoom button once
or twice and use the joystick to move to the area
you want sharp. Fine-tune the focus manually.
Whatever is behind the liquid will appear flipped
upside-down. If you have a person to help you
out, ask them to pose so that their body shape
is easily defined against the background. Move
them closer or further from the glasses to see
the effect the distortion has on the body shape.
No matter how much you scrub the glasses, it’s
difficult to get them perfectly clean, so you
might need to tidy up smears with Photoshop’s
Clone and Spot Healing tools. Go to Layer>New,
then set the tools to ‘Sample: All Layers’ in the
options to keep the changes non-destructive.

www.digitalcameraworld.com January 2015 55

NIKON SKILLS Ingenious recipes for stunning shots

PROJECT SIX CREATIVE PHOTOSHOP

Create a BEFORE

bigger bang
Paul Grogan explains how to produce a fantastic
fireworks composite in a matter of minutes
As we revealed in Project 2 (page 48),
THE MISSION shooting good photos of fireworks really
■ To create the perfect
couldn’t be easier, but shooting great ones is
fireworks photo
more of a challenge. This is because fireworks
TIME NEEDED are, by their very nature, unpredictable: you can
■ Five minutes never be sure exactly where or when the best,
most photogenic ones are going to explode, and
SKILL LEVEL leaving everything to the finale can result in
■ Anyone can do it
shots that are blown out. Often the best you can
■ Some tricky aspects
do is keep shooting until the last firework fizzles
■ Advanced technique
out, in the hope that one or two will hit the spot.
KIT NEEDED With the power of Photoshop, however, you
■ Photoshop CC, don’t have leave it to chance – it might be that
or Elements you’ve got a shot that’s almost perfect, but just
needs one more firework to balance it out; or you
might have lots of shots of single fireworks that
look lonely on their own! In either case, merging
multiple fireworks into a single image is as easy
NEXT ISSUE… as shooting them; the trick lies in how you merge
Correct distorted images using Photoshop’s Layers and Blending
wide-angle interiors modes. Read on to find out how it’s done...

STEP BY STEP Get more bang for your buck

Discover how to create the perfect blend in Photoshop AFTER

01 Fire up Photoshop 02 Select a firework 03 Get blending

Download the start files from the disc, or using
the link below. In Photoshop CC or CS go to
File>Open, browse to the folder containing the
five start files, shift-click to select them all, then
press Open. Once they’ve opened in Photoshop,
press Ctrl+Tab to toggle to Firework1.jpg.
Select the Polygonal Lasso tool and make a rough
selection of the firework on the right, as shown
above. Once you’ve made your selection, press
Ctrl/Cmd+C to copy the selection, and toggle
to Cityscape.jpg, again using Ctrl+Tab. Hit Ctrl/
Cmd+V to paste the firework onto the cityscape.
With the Layers Palette visible (Window>Layers),
click on the word ‘Normal’ at the top and select
Lighten from the Blending Mode dropdown
menu. This has the effect of retaining all pixels in
your selection that are brighter than the pixels on
the layer below, while hiding any that are darker.

56 January 2015 To watch the video use this web link… bit.ly/NPhoto41

04 Position as needed
This effectively hides the darker bits of sky
behind the firework to reveal the brighter lights
of the cityscape. To position the firework, select
the Move tool and drag it to wherever you want it
to go. Next, toggle to Firework2.jpg and repeat
steps 2 and 3, positioning it as shown above.
To download the start images for this tutorial, visit bit.ly/start-41
05 Where there’s smoke
The firework in Firework3.jpg is shrouded in
smoke, which is lighter than the background of
the cityscape. This means that when it’s pasted
onto the cityscape, it will stay visible when the
Blending mode is set to Lighten. As a result, the
edge of the selection is clearly visible.
Fireworks composite
PLAY WITH FIRE
■ Not only can you position
fireworks anywhere you like,
you can also rotate them or
resize them. To do this select
the layer containing the
firework you want to change,
then go to Edit>Transform>
Scale (or Rotate). You can
then drag the corners of the
box that appears either in,
out or around, before hitting
the tick in the Options bar at
the top when you’re happy.
QUICK TIP! This
technique relies
on the background
of your fireworks
images being
darker than the
background in
your main image
06 Soften your selection
The way round this is to soften the edge of the
selection before copying and pasting it. To do this,
make the selection as normal, hit Refine Edge in
the options bar at the top and drag Feather to
around 100 pixels, then copy and paste as normal.
You might also need to do this with Firework4.jpg.
January 2015 57
NIKON SKILLS Ingenious recipes for creative shots

PROJECT SEVEN SYSTEM SPOTLIGHT

Pass the
drive test
Chris Rutter explains all you need to know
in order to choose the right drive mode
There are three standard
THE MISSION drive modes available on most
■ To choose the right
Nikon cameras: single, continuous
drive mode in any
and self-timer. They control how
situation
many shots the camera will take when
TIME NEEDED you press the shutter release button.
■ Five minutes (See below for more on each of these.)
Although you can, in theory, shoot
SKILL LEVEL at very high speed in continuous
■ Anyone can do it
mode, a couple of things can affect
■ Some tricky aspects
the frame rate of your camera. The
■ Advanced technique
first is the shutter speed: to achieve
KIT NEEDED the maximum frame rate you will
■ Nikon D-SLR need to use a fast shutter speed,
such as 1/250 sec or faster. At slower
shutter speeds the frame rate will be
reduced. The second limitation comes
NEXT ISSUE… when you are shooting at the highest
Take control of white resolution and quality settings, as the
balance in any light number of shots that you can shoot in
a sequence may be limited by the
ability of the camera to process the
images and write the data to your
memory card. This limitation is even
more noticeable if you shoot in RAW.
On many Nikons you can choose
between a high-speed continuous
(C-H), which shoots at the maximum
frame rate available, and a lower
frame rate (C-L) option. This is useful
if you need the convenience of the
continuous drive mode, but don’t
need to use the fastest frame rates.
Other drive mode options
Along with the three main drive mode
settings, some Nikons have remote,
quiet and mirror lock-up options.
If there is a dedicated wireless
remote release available for your
camera you will need to select remote
to allow you to fire the camera with it.
The action of the mirror moving
and the shutter opening and closing
means that taking pictures can be
fairly noisy, and noticeable if you are
taking shots in a quiet environment,
or of a subject such as an animal that
could be disturbed by the noise. Many
recent Nikons have a quiet mode to
reduce this noise. While it can make
the camera quieter, it does mean that
there is a slight delay between shots.
Mirror lock-up is only available on
more expensive models, and is a way
of reducing so-called ‘mirror slap’
when shooting long exposures on a
tripod. You press the release button
once to lift the mirror, and again to
take your shot.

STEP BY STEP The big three

These are the three drive modes you’re likely to use most often

01 Single shot 02 Continuous 03 Self-timer

In this mode the camera will take one shot when
you press the shutter release button. To take
another shot you have to take your finger off the
shutter release, and press it down again. This
means that it’s more suited to static subjects
where you have time to shoot individual images.
This mode allows you to keep taking shots by
holding down the shutter release button. It’s
the best mode to use for moving subjects, as
you don’t have to lift your finger off the button
to take more than one shot. The speed will vary
according to the model of camera.
In this mode there is a delay between pressing
the button and the camera taking a picture. On
most Nikons you can pick different delay times.
Use the shorter delays for reducing the risk of
nudging a camera on a tripod, and the longer
ones when you want to get in a shot (page 44).

58 January 2015 To watch the video use this web link… bit.ly/NPhoto41
 r st or i e s, y our le tte r s
Your pho tos, y ou
Come on in!
There’s nothing like a
big subject to ensure a
great picture – whether you’re
capturing the colour and
scale of street art, the power
of a vintage steam engine
or the majesty of the Yukon
landscape like this issue’s
readers, or something equally
wonderful. We’d love to see
what’s been grabbing your
attention, so why not write
in and tell us about it?
INSIDE OVER TO YOU…
60 ........................... Photo Stories
66 ........................................Letters
68 ................. Photo Competition
WE WANT YOUR STORIES,
PICTURES AND LETTERS!
SEND THEM TO:
N-Photo Magazine
Future Publishing Ltd
The Ambury, Quay House,
Bath, UK, BA1 1UA
Or drop us a line at:
mail@nphotomag.com
www.facebook.com/nphotomag
www.twitter.com/nphotomag
60
01 VIEW OVER THE CERROS
Nikon D800, Nikon AF-S
24-120mm f/3.5-5.6G IF ED
VR, 1/200 sec, f/10, ISO100
Chile con camera
A trip to South America gave Nuala Mahon the chance to
capture Chile’s vibrant (and illegal!) street art for posterity
PROJECT INFO
MISSION Have myself
and camera gear
survive a trip from
La P az to P un ta Arenas
PHOTOGRAPHER Nuala Mahon
AGE 69 LOCATION Sherkin
Island, Ireland, and
Cucuron, France
KIT Nikon D800, Nikon
16-35mm f/1.4, Nikon
24-120mm f/3.5-5.6,
Nikon 70-200mm f/2.8
WEB www.mahons.org
WE WANT YOUR PHOTO STORIES! Every Photo Story we feature in the magazine wins £50!
January 2015
In the early 1990s
my husband and I
worked in West Africa as
volunteers. I worked mainly
with women, many of whom
could neither read nor write,
and I used images and picture
stories, where possible, to
communicate with them. I took
up photography seriously when
I returned to Europe, and I
now divide my time between
an island in the southwest
of Ireland and the Luberon
Mountains in Provence, France.
I’m a member of several artists’
groups, and exhibit my work in
both countries.
I love travel photography, and
I always backpack around, as
GET £50
FOR EVERY
PHOTO STORY
WE PUBLISH!
it’s cheap and allows for more
contact with locals. Chile is
one country that had long been
on my wishlist. I wanted to
document my whole trip, but I
was blown away by the aesthetic
quality of the street art.
Technically street art is illegal,
in Chile, but it’s ubiquitous
from the northernmost city of
Arica to Punta Arenas in the
far south. Chileans have always
used street art as a means
of spreading messages, and
after the fall of the Pinochet
regime the ‘grafÀteros’ were out
spraying everywhere they could
Ànd a blank space.
Santiago and Valparaiso are
the street art capitals of Chile.
www.digitalcameraworld.com
02 BLOWING DRAGON FIRE
Nikon D800, Nikon AF-S
24-120mm f/3.5-5.6G ED IF VR,
1/125 sec, f/7.1, -1EV, ISO100
Valparaiso is the ofÀcial port of
Santiago, although it lies 120
kilometres east of the capital.
The Áat area around the port
runs inland for two kilometres
and then ascends sharply up
to the ‘cerros’. The Àrst settlers
built their houses on these hills,
and the merchants of Santiago
built substantial dwellings
there, but in the second half
of the 20th century many rich
residents abandoned Chile, and
gradually the grand houses
fell into disrepair. The streets
of Valparaiso became the
grafÀteros’ canvases.
Bright heights of Valparaiso
One way to reach the cerros is
to take an ‘ascensor’ or funicular
railway. These rattling iron
boxes were built in the late
19th and early 20th centuries
to transport people up to the
cerros. Eight of the original
ascensors are still operating;
the gradient is about 70 per
cent, and for a few pesos
To enter your Photo Story, just email a brief synopsis and three of your best JPEG images to mail@nphotomag.com
www.digitalcameraworld.com
you’re moved at a stately pace
03
up the hillside. Exiting from
Ascensor Concepcion feels like
walking onto a surreal Àlm set.
Even the houses that are not
canvases for imaginative works
of art are brightly painted.
Another option is to walk or
climb the thousands of steps up
into the hills, and even these
form part of the grafÀteros’
tableaux. Flowers have seeded
themselves in a mad patchwork
of colour in the cobbled streets,
complementing the buildings.
Houses are often painted from
03 THE FLYING PEOPLE’S HOUSE
top to bottom and from side to
Nikon D800, Nikon AF-S 24-120mm
side, and sometimes the themes
spill out onto the pavement
f/3.5-5.6G ED IF VR, 1/80 sec, f/8, ISO100 P au l’pss…
or from under a garage door. cartoonish, sometimes serious top t i
Hostels vie with each other to and very often satirical. A whole
attract customers by painting industry has developed around STREET PHOTOGRAPHY
their facades with intricate, Chilean street art. Agencies ŏɬÏǰĦǡǢɬŀȇťƾŷɗɬĦǷŨɬǠŷǷɗŷɗɬ
eye-catching murals. Shops, supply artists, bloggers blog ĤɆźɬǠŷəɗɬȈŀɯɆʉəƾʬź
restaurants, and even dog about it and ‘street art’ tour ŏɬÍŸ ɲɬħɬȩŷɆəȇǺɬĤơĦƾǷəɲ
kennels and bus shelters form operators have also cashed
part of the crazy kaleidoscope. in on the deal. Valparaiso is a graffi ti to give a sense
Colours are always vibrant, must-visit for anyone who enjoys of scale to the artwork
and the designs are sometimes street photography.
January 2015 61
OVER TO YOU…
PROJECT INFO
MISSION To
ťocumen t the
preserved steam
rĦǀǠɆȇĤťɗɬȇƐɬɱƷźɬ
AǰŷɆǀŐĦǺɬąŷəɲ
PHOTOGRAPHER Jerry B.
Day AGE 74
LOCATION CȈǠȈɆĤťȇŢɬãÎ

KIT Nikon D600, Nikon
D800, Nikon 20mm f/1.8,
Nikon 24-70mm f/2.8,
Nikon 50mm f/1.4, Nikon
60mm f/2.8 Macro,
Nikon 85mm f/1.8,
Manfrot to 290 tripod,
Manfrot to 334B monopod
WE WANT YOUR PHOTO STORIES! Every Photo Story we feature in the magazine wins £50, so get in touch today!
62 January 2015
Blast from the past
Jerry Day has two great passions: photography and vintage
steam locomotives – and it shows in the images he takes
I’ve always combined my
love of photography with
my passion for steam-powered
railroads, particularly the
narrow-gauge railroads
of Colorado. I Àrst began
photographing railroads in the
1950s using a 35mm Kodak
Retina camera.
I was able to continue my
passion for photography when
I served as a photographer in
the US Air Force for 22 years.
The Air Force used Nikon
cameras, so I used them both for
my professional work and my
personal photography. The Àrst
Nikon I owned was an 35mm S3
rangeÀnder, which I purchased
on an airbase in Japan in 1961.
I was sceptical of digital for a
long time. I worked at Hewlett-
Packard on their Àrst digital
cameras and the image quality
was just not there, although I
could see the potential. But in
2004 I tried a Nikon D70, and
I was sold immediately. After
two years I moved up to a D200,
which I used until two years
01 MACHINE
Nikon D800, Nikon AF-S 24-70mm
f/2.8G ED, 1/160 sec, f/6.3, ISO4000
ago, when I purchased a D800,
which was photography nirvana.
This year I bought a D600 as a
backup. It’s so good that I shoot
with it and the D800, changing
cameras instead of lenses.
The lure of steam
Railroads are as much a part
of the history of the American
West as cowboys. I enjoy
researching the history of these
preserved treasures, and I’ve
produced several books about
them, as well as contributing
www.digitalcameraworld.com

02
02 PUFFING
Nikon D600, Nikon AF-S 70-300mm
f/4.5-5.6G IF ED VR, 1/125 sec, f/9, ISO1600
03 MUDHEN SUNRISE
Nikon D800, Nikon AF-S 24-70mm
f/2.8G ED, 1/160 sec, f/16, ISO4000
photos and articles to railroad
history magazines.
A number of the American
historic railroads operate special
trains for photographers and
railroad fans, usually prior to or
at the end of the summer tourist
season. The operators will
repaint the equipment as it was
in the old days, so that those
attending can recreate authentic
scenes. Urban development has
crept closer to the tracks along
which these trains are operated,
making it more difÀcult to
recreate a scene from the 1930s,
’40s, or ’50s; fortunately the
To enter your Photo Story, just email a brief synopsis and three of your best JPEG images to mail@nphotomag.com
www.digitalcameraworld.com
03
areas where the trains operate
in the west still include isolated
stretches without cell towers
and modern buildings.
I enjoy photographing the
trains in operation, with smoke
roaring into the sky, but I also
enjoy photographing them at
night and inside the workshops,
Your stories, your photos, your letters
which are often historic
structures in their own right.
I’m a Nikon diehard. I
recommend getting the best
glass you can afford – I’ve just
got the new 20mm f/1.8G,
which is great for interior shots
of cabs – and pushing yourself
to try new things. I couldn’t
January 2015
’s
Je rrpy…
top t i
FOR RAILROAD SHOTS
ŏɬ5ȇǺɃɲɬəɯȈȪɬ
photographing locos when
i ɲɬɆĦƾǷɗɬȈɆɬəǷȈʯɗȴɬÙƷźɬ
cooler tempera ture
enhances the smoke and
sɱŹĦǰɬŸƐƐŹő ɯɗ
afford a lot of experimentation
in the Àlm days, but now
I’m constantly trying new
techniques. Someone once
suggested that after 60 years of
photography I should know it
all. I replied that if I don’t learn
something new each time I
shoot, I feel disappointed!
63
 OVER TO YOU…
01 FIRE AND ICE, KATHLEEN LAKE
Nikon D300S, Nikon AF-S 18-105mm
f/3.5-5.6G ED IF VR DX, 1/80 sec, f/10, ISO320

PROJECT INFO
MISSION To capture
the beau ty of the
Yukon Terri tory
Land of fire and ice
The very name Yukon summons up thoughts of wide-open
iǺɬ ĦǷĤťħ space – and Simon Blakesley is capturing its full beauty
PHOTOGRAPHER Ïimon I’m fortunate to live in as a hobby! I’m a former Royal this is that sunrise and sunset
Blakesley AGE 48 an incredibly scenic part Canadian Air Force aircraft take much longer to transpire,
LOCATION Whi tehorse, of the world. Canada’s Yukon mechanic, and I love shooting resulting in long dusk periods
Territory still has wide-open aircraft as well as nature. where the light is very colourful.
YʊǚȇǺŢɬ ĦǷĤťħ spaces untouched by the human That the Yukon is north of
KIT Nikon D800, Nikon hand, and a wide variety of wild 60 degrees makes for short Freeze frame
D600, Nikon 16-35mm animals. The weather conditions days where the sun sets at Preparation is required when
f/4, Nikon 18-105mm can be challenging, particularly 3:30pm. In December, the light shooting in cold climates, both
in winter; at times the is never pure ‘white’ sunlight, for comfort and safety. Warm
f/3.5-5.6, Nikon
temperature can fall to -40ƒC, but always has a warmer colour clothing is a must; skin freezes
24-120mm f/4, Nikon making outdoor photography temperature due to its low angle in less than a minute at -35ƒC
70-200mm f/4, Nikon as much as a survival pursuit to the horizon. A beneÀt of (and it burns if your bare Àngers
80-400mm f/4.5- touch an aluminium tripod at
5.6, Nikon 50mm f/1.8 At times the temperature can fall to -40ºC, that temperature!) so adequate
mitts and gloves are crucial.
WEB www.simonblakesley.ca making outdoor photography as much a Checking the weather report
survival pursuit as a hobby! is important, as a cold, clear

WE WANT YOUR PHOTO STORIES! Every Photo Story we feature in the magazine wins £50, so get in touch today!
64 January 2015 www.digitalcameraworld.com

forecast can make for great
conditions, particularly if the
aurora borealis is predicted.
Materials snap more easily
when frozen, so it’s important
to treat equipment gently. I keep
my equipment well insulated
in a Kata pack, and on longer
trips I carry a plug-in charger
in my car to top up my batteries
as they drain faster when it is
cold. I always use a lens hood to
keep the snow off my lens. Once
home, I allow my gear to ‘thaw’
in the backpack for an hour or
more before taking it out, to
avoid condensation build-up.
I use a Nikon D800 with a
D600 as backup, particularly
on shoots for aviation clients
where they’re paying dearly for
the Áight time. Both cameras
perform Áawlessly in tough
conditions. I use a selection of
Nikon lenses – the 80-400mm
for animals and aircraft, a 24-
120mm as an all-rounder, and
a 16-35mm for landscapes and
cockpits. I carry a 50mm f/1.8G
To enter your Photo Story, just email a brief synopsis and three of your best JPEG images to mail@nphotomag.com
www.digitalcameraworld.com
Your
Yourstories,
stories,your
yourphotos,
photos,your
yourletters
letters
02 FROST ON THE YUKON RIVER
Nikon D800, Nikon AF-S
16-35mm f/4G ED IF VR,
1/250 sec, f/22, ISO200
03
for emergencies, as I’ve dropped
and destroyed a lens before.
On really cold nights I
enjoy processing my images,
using Lightroom 5 for regular
adjustments and Nik Silver
Efex Pro to convert to black
and white. I believe the
photographer’s creative vision
makes the photograph.
03 CP-140 AURORA IN A SNOWSTORM
Nikon D80, Nikon AF-S 18-105mm
f/3.5-5.6G ED IF VR DX, 1/500 sec, f/5.6, ISO250
P au l’pss…
top t i
SHOOTING IN THE WILD
ŏɬ”ĥǚźɬɗʉɆźɬʴȈʌɬȨĦőǜɬħɬ
ǰĦȪŢɬĦǷŨɬǠŸ ɲɬəȇǰŷȇǷźɬǛǷȈʯɬ
ʯƷŷɆźɬʴȈʌɃɆźɬƢȇƾǷơƎ
ŏɬ¼ Ħőǜɬʯĥ ɱŷɆɬĦɗɬʯŹǡǢɬĦɗɬ
ʴȈʉɆɬŐĦǰŷɆħɬǛƿ ɲ
ŏɬ5ɆŷəɗɬĦȩȨɆȈȨɆƾĥ ɱŹǠʳ
January 2015 65
OVER TO YOU…

YOUR LETTERS
We’d love to hear your thoughts on the mag and all things
photographic! So email us at mail@nphotomag.com
We reserve the right to edit any queries for clarity or brevity. You can also write
to us at N-Photo Magazine, Quay House, The Ambury, Bath, UK, BA1 1UA

ONE FOR THE ROAD

I just thought I’d send you a pic
of my Àrst attempt at light trails.
It was taken with my D3200
LET THERE BE LUZ! with a manual nifty Àfty.
Graham Western, via email

Even without surf and Nicely done, Graham – you’ve

surfers, Michelle captured plenty of light trails
found plenty to
and got the surrounding
photograph
scenery well-exposed enough
to be detailed as well. We look
forward to seeing more!

Living in southern Spain, I

decided to head to Cabo de
Trafalgar to shoot surfers
in the morning light of the
Costa de la Luz. The scene of
the biggest battle in British
naval history seemed the
most appropriate place to be
on Remembrance Sunday
morning. However, the surf
was not ‘up’ and so I decided
to photograph the iconic
lighthouse instead.
I am enjoying your
magazine, a gift from a
visiting friend, and was
feeling inspired to get out
there with my Nikon D5100.
I have recently upgraded to
the Nikon 50mm f/1.8G prime
lens, which was very good
value and such a noticeable
improvement in speed of focus
and the quality of bokeh, and
I am loving using it. However,
I took these shots with my
Nikon 55-200mm lens, as
having gone to shoot surfers I
didn’t want to change lenses
in the salty ocean atmosphere!
Michelle Brooker, Cadiz,
Spain
The Costa de la Luz is
famed – and named! – for
the quality of its light, and
looking at your photos,
Michelle, we can see why.
Just look at that sky…!
As you say, a zoom lens
is always a good idea ONE VISION?
when you’re at the beach
I was wondering if any other
as it reduces the chance
readers suffer from colour
of getting salt, sand or
blindness. I struggle quite badly
moisture inside your
with red, green and brown,
camera. Keep an eye out
resulting in some quite strange
for next issue, when our
edits. I have enclosed two
Apprentice will be getting
photos, one which I’m told looks
a masterclass in shooting
natural and one that through my
fantastic seascapes.
eyes looks more natural.
Brian McAuley, via email

WIN A LEXAR MEMORY CARD AND READER! <ou’re the Àrst one who’s
Write our Star Letter and you’ll win a 16GB 600x SDHC UHS-I memory card and written in, Brian, but we’re
Dual-Slot USB 3.0 reader from Lexar Professional! See www.lexar.com for details. sure you’re not alone. You say
‘strange edits’, but we say,
‘unique vision’!

66 January 2015 www.digitalcameraworld.com


THE BIG FLIP-OUT DEBATE
Brian Burd’s Star Letter last
issue about the Nikon D750’s
tilting LCD provoked a strong
reaction from many readers…
1RÁLSIRUXV
I would like to comment on the
mail from Brian Burd regarding
Áip-up screens. Having suffered
connection failures through
the rather dubious medium
of ribbon-cable connectors
both on one laptop, clamshell
telephones and two well-known
but different camcorders, I agree
totally with those sentiments.
H. Porcher. Shropshire
I totally agree with Brian
Burd. When I Àrst bought my
D7100 to immerse myself
in the wonderful world of
photography, it was completely
price-dependent. I chose Nikon
on a pure value-for-money
basis. I was struck, however,
by the complete absurdity of
superÁuous and gimmicky add-
ons. I have no use for a video
facility. If I had, I would have
bought a camcorder. I also have
no need for a Áip- up screen. I
feel that Nikon could strip down
their cameras and subsequently
‘clean up’ in the beginner
market, by providing high-
quality, no frills equipment.
Rob Davies, Holywell,
Flintshire
Hmm…
I had a Nikon D5000. It was a
great camera and I really miss
The D750 is
packed with
features, but
one gets all
the attention!
www.digitalcameraworld.com
Unlike the D750, Terry’s D7000
doesn’t feature a tilting screen
the tilting screen on my D7000;
they’re so useful for going over
people’s heads or getting close
up to an ant without getting
your knees muddy. As far as this
photographer is concerned this
is one “gimmick” that I miss!
Terry Coulcher, via email
You invited comments on the
tilting screen debate. Like your
correspondent in the December
issue I’m a D700 user and have
been watching the reports and
tests of the D750 with interest.
I’ve found the D700 to be very
rugged, reliable and trustworthy
(it even came deep underground
with me recently, down an iron-
ore mine). It does have some
drawbacks and is ageing, so I’ve
also started using a Fuji XT-1,
and Ànd that it surpasses the
D700 in terms of image quality.
It too has a tilting screen, and
far from being a gimmicky toy,
it is extremely useful in some
circumstances (almost like
a waist-level Ànder from the
golden days of medium-format
Àlm). My conclusion? I don’t
need to replace the D700 – the
Fuji gives me all the quality I
need. But if I did want a D750
Your stories, your photos, your letters
the tilting screen certainly
wouldn’t put me off.
Chris Poole, via email
I must respond to Brian Burd’s
tirade against the D750. Does
he not realise that many pros
now use D-SLRs to produce
videos, and that Nikon has
had to produce a camera with
excellent video capability, which
the D750 undoubtedly has? The
tilt screen helps in this respect,
as many videos are shot at waist
level. The screen is also great
for shooting over crowds and for
low-level perspectives.
Dave Heath, West Midlands
I cannot agree with the
comments in the last issue about
the D750’s tilt screen. I have
been wanting one on an FX
camera and now it has arrived.
Tilt screens will be on all
D-SLRs in the coming years.
Michael Cadiz, via email
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TWEETS & POSTS…
We found chocolate Nikons for
sale at the local market!
I want one of these for Christmas
please Santa!
Ross Hoddinott
They look rather like the almost
forgotten pre-owned Nikons in my
local London Camera Exchange
gathering dust. At least these
chocolate ones will find a new home.
Chris Nevard
It’s very hard to focus on this!
N Luna Ghastz
More calories than megapixels!
Elwyn Wonitowy
January 2015
From these comments (and
those in all the other letters
and emails that we’ve
received) it looks like the
strong opinions are pretty
much evenly split – so it’s a
good thing that the Nikon
D-SLR range is broad enough
to include something for
everyone! If you want a tilting
screen, there are cameras
with them, and if you don’t,
alternative bodies are
available. Diversity’s great!
ONE FOR THE ROAD
I very much enjoyed your
article ‘Taking the Reins’ (The
N-Photo Apprentice, issue 39).
I am a keen horse rider and
I enjoy taking horse-related
photographs at shows and in
riding schools. I was shocked
to see in the photographs that
at no time did the rider wear
a hard hat. This article could
encourage other photographers
and riders, and even children, to
copy the points from the article.
Also the model had long hair
that was not tied up. Hard hats
and hair nets are worn when
riding a horse because no matter
how good the horse is, a horse’s
behaviour is unpredictable and
very serious accidents have
occurred even when the
horse is standing still.
Pamela Digby, via email
Thank you for raising this,
Pamela – safety is something
every photographer needs to be
aware of, whatever the subject
or location. We’ll certainly
bear your advice in mind
on any future shoots we
do involving horses.
67
 THIS
MONTH’S
WINNERS
CROWD VOTE WINNER JUDGES’ VOTE WINNER
Tilly Meijer Rajmund
While Tilly’s snowy Matuszkiewicvz
landscape is This derelict
wonderfully empty, ballroom was a
with the house and tricky subject to
its tree emphasising expose for, as the
the bleakness of the light went from
rest, there’s plenty bright sky to deep
of texture in the shadows. And on
sky, which makes top of that,
the image feel more Rajmund had to Àt
natural and adds as much as possible
extra interest. within the frame…

COMPETITION WINNERS
Your photographs could be on this page next month…
In order to enter This month’s challenge, with the Meijer’s wonderfully empty landscape,
the competition, theme of ‘Emptiness’, was a real where the stark contrast between the black
or to vote for your challenge. We received some fantastic house and tree and pale ground and sky
favourite shots, you
still-life shots, and emotion-packed helps to hammer home the absence of
will need to register
with Photocrowd. portraits. The bulk of the entries were anything else.
It’s easy to do via landscapes and architecture shots, however If you’d like to see what the judges and
the website www. – and so were both the winners. your fellow N-Photo readers have to say
photocrowd.com. The judges loved Rajmund about your own images (and have a shot at
Voting is randomised Matuszkiewicvz’s entry because it was winning a fantastic Manfrotto 3N1-25 PL
to ensure fairness – doubly empty: there was the fact that the Pro Lite Camera bag worth £200, pictured
all images get some
building was physically empty, and that right), why not enter our latest competition
exposure, people
don’t just look at
the absence of the people who’d once have online at www.photocrowd.com? As
the first 50 or so! spent time there left it feeling emotionally always, the more creative the interpretation
bleak as well. The crowd vote went to Tilly of the theme the better.

68 January 2015 www.digitalcameraworld.com

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

70 January 2015 www.digitalcameraworld.com

 70-73
YOUR NEW Nikon Know-How
NIKON EXPERT Michael Freeman
explores depth of field,
Prolific author Michael Freeman looking at how your
presents an exclusive monthly choice of aperture
masterclass on all things Nikon. affects it, and how
For a free copy of his superb book you can use depth of
Perfect Exposure, turn to page 74. field to take even more
effective photos
76-77
Nikon software
Rod Lawton looks at
Capture NX-D’s RAW
conversion and batch-
processing tools,
which enable you to
turn RAW files into a
format most programs
can work with
78-79
Ask Rod…
We’ve got a familiar
face taking over the
problem solving this
month: if you’ve got a
Nikon- or photography-
related query, Rod
Lawton is the man
with the answers!

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, it’s all Depth of field doesn’t change with
about impression – if we think part of an focal length – though it looks like it
image is sharp, then it is. Sharpness is influenced
■ It seems counter-intuitive, but depth of field
by two lens qualities – resolution and acutance –
doesn’t change with focal length. And yet we all
but also by subject, composition and our own
experience what seems to be shallower depth of
expectations. Resolution is the ability of a lens
field when we’re using a telephoto lens, so what’s
to separate fine detail, such as narrowly-spaced
going on? It’s because telephotos are normally used
lines, while ‘acutance’ refers to how abrupt edges
to magnify a distant part of a scene, and wide-angle
are between dark and light tones – local contrast,
lenses to take in more of it.
in other words. Improving both of these qualities,
If you were to shoot the same part of the scene
particularly resolution, is what lens designers
by moving forward with the wide-angle or stepping
and manufacturers strive for, and lens quality
back with the telephoto, the depth of field would
is judged on this more than anything else.
be identical. So, while strictly speaking focal length
However, beware of thinking of sharpness as a
isn’t involved, in practice, because of the way most
gold standard. You would nearly always expect,
of us use wide-angles and telephotos, it does matter.
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 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.”

HYPER-REALITY 70mm

GOING DEEP
When everything is sharp from front to back, it heightens the sense of reality
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 28mm
down to a small 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 28mm (ENLARGED)
of being able to touch every part of the scene.

www.digitalcameraworld.com January 2015 71

 The only camera manual you’ll ever need

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
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’
(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
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.

72 January 2015 www.digitalcameraworld.com

 The only camera manual you’ll ever need

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
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,
thankfully not yet over-used, is to place the
focus behind the subject, so that it has to rely on
colour, shape and other clues to make itself
understood visually. Why, you might ask, would be too strident, as in this case: the flower-
anyone deliberately set out to confuse? One bedecked hairdos of Bulang women at an annual
reason is to intrigue or surprise the viewer; ritual were important, but could still be conveyed
another is when focusing on the subject might while looking beyond them at other participants.

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.

www.digitalcameraworld.com January 2015 73

PHOTOGRAPHY eBOOK OFFER
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74 January 2015
By sharing his professional workÁow,
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www.digitalcameraworld.com
 The only camera manual you’ll ever need

01 08

02

03

04

07

05

06

NIKON KNOW-HOW

CONVERT FILES FROM RAW

Rod Lawton explains Capture NX-D’s conversion and batch processing tools
JARGON BUSTER
Get to grips with key
image editing terms
NEF
Stands for ‘Nikon Electronic
Format’. This is Nikon’s name for
its proprietary RAW file format –
‘RAW’ is the generic name for this
kind of file.
BATCH PROCESSING
Choosing processing settings
for multiple files and then
leaving the software to process
them one by one in the
background while you
get on with other tasks.
Capture NX-D’s file
conversion and batch
conversion options are central
to the way it works. Capture NX-D
does not save photos directly in the
way that other image editors do. All
your images stay as RAW files, even
after you’ve applied adjustments.
Capture NX-D’s adjustments are
all ‘virtual’. They are saved as
processing instructions alongside
your RAW files, and while NX-D will
show you what the photos will look
like with those adjustments, the
files themselves aren’t altered.
The only way to create a permanent
version is to convert the RAW file
into a new JPEG or TIFF image with
those adjustments applied. You need
to do this to create images that
other programs can open too.
You can use the Convert Files
button on the top toolbar to process
images one at a time (see our
walkthrough opposite). All you need
to do is choose where to save your
image, what file format to use and
whether or not you want to resize it.
The Convert Files button also
works if you select several images at
once. This is where it switches over
to Batch Process mode, converting
each file with the adjustments
you’ve applied. But there is another
way to process shots en masse.
The File menu has a Batch Process
command which processes folders
full of images at a time. This is
useful if you’ve just come back from
a big shoot and want to produce
JPEG versions of every RAW file.
With the Batch Process command
you’re not restricted to the
adjustments currently applied to
each NEF file – you can choose one
set of adjustments and apply it to all
the images in the folder.
The key points are that you can
use Capture NX-D’s whole gamut of
editing tools for your conversions,
and you can convert the same folder
full of RAW files as many times as
you like, with different adjustments,
to different destination folders.

76 January 2015 To watch the video use this web link… bit.ly/NPhoto41
 The only camera manual you’ll ever need

HOW IT WORKS RAW CONVERSIONS

Capture NX-D’s batch conversion tools can save you time processing similar shots
01 Batch Process window it’s not clear how this works in the current 08 Convert Files
You’ll find the Batch Process command in the version of Capture NX-D. ‘Apply adjustments If you want to convert images one at a time, or
File menu. It opens the Batch Process window, already in files’ converts the images using the only specific images within a folder, select
where you choose the files to convert, the adjustments you’ve applied to each one. Use them first and then click the Convert Files
adjustments to apply, the new file format this if you’ve edited images individually to button. You can see how this works in the
and where the files are to be saved. get the look you want, and now you want to three-step walkthrough below.
convert them with these individual settings.

04 Image Quality
Select the format you wish the converted file
to be in: JPEG or TIFF. Now choose the Quality
setting (the options will change according to
the file format you’ve chosen).

02 Source Folder
The Source Folder is the one containing the
RAW (NEF) files you want to convert. You can
find it on your computer’s hard disk by
pressing the Browse button. The Batch
Process command is indiscriminate and will
process every photo in the folder. If you want
to process certain images only, you need the
Convert Files button (see 08).
03 Adjustments
You can apply three types of adjustments as
you batch process the images. ‘Apply current
adjustments’ takes the adjustments you’ve
made to the current image and applies them
to every image in the folder. This is useful if
you want to apply a specific effect to a group
of photos. ‘Adjustments to apply’ should, in
theory, enable you to open a saved
adjustments file and use that instead – though
05 Specify Size
This step is optional, but it’s an opportunity to
change the pixel dimensions of your converted
images. For example, if you want to display
them on a website or send them to someone
else, you could resize them to 1920 pixels wide
and Capture NX-D will automatically adjust
the height to retain the correct proportions. WHERE TO GET
06 Destination
This is where you choose where the converted
CAPTURE NX-D
image files should be saved. You can select Downloading Capture NX-D
the Source folder, so that they’re saved Capture NX-D is available as a free
alongside the originals, or a completely new download from the Nikon website at
folder. When you’ve chosen a folder, you just http://nikonimglib.com/ncnxd/ It’s
click the Start button in the bottom-right up to date with support for the latest
corner to start batch processing. Nikon D-SLRs, and as new models are
introduced, Capture NX-D should be
07 Batch Process Status the first software to support them.
When the processing starts, Capture NX-D Another key advantage is that it
displays this Batch Process Status pane, exactly replicates the Picture
which lists each of the files queued up for Controls, white balance and other
conversion and a progress bar for each. When settings of your Nikon.
the list is empty, the process is finished.

RAW TO JPEG…
CREATE A JPEG
You can convert your edited NEF files into JPEGs in moments

Edit your image Convert to JPEG Continue editing

Let’s say we want to crop this image into a
square shape. We can use Capture NX-D’s Crop
tool for this, selecting the 6:6 Aspect Ratio from
the Crop panel’s drop-down menu. (This
corresponds to the old 6x6cm square
shape of medium-format film.)
Now we click the Convert Files button. There
are four settings to note: Save As (the new file
name and location), the File type and quality (we’ll
go for JPEG, Good Quality), the Output Settings (if
you want to change the resolution) and the Image
Size (we’re reducing it to 1920 pixels across).
The converted image might be fine as it is once
you’ve converted it, or you may want to do further
post-production work in a program like Photoshop
using tools that Capture NX-D doesn’t have. Here,
we’ve used Photoshop to adjust the shadows and
highlights and darken the sky.

www.digitalcameraworld.com January 2015 77

 The only camera manual you
you’llll ever need

Get in touch…
Ask Rod...
Our resident expert answers your
questions and solves your issues.
If you’d like Rod to come to the rescue
regarding your Nikon-related question,
email it to mail@nphotomag.com.
Please note that we reserve the right
to edit any queries for clarity or brevity.
You can also write to us at
N-Photo Magazine,
If nobody else can help, ask Rod! Quay House, The Ambury
Bath, UK, BA1 1UA

Can I convert
JPEGs into RAW
files?
Neil Meredith, Northants

Rod 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
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 Rod 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
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.
Rod 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 Rod says… Sadly not, Stan. The version of Camera Raw that
observations that might help. First, zooms with the right works with Elements is a cut-down version with just three
‘native’ focal range are usually the best choice; shorter, adjustment tabs. The only way to get the full set of tools in
faster zooms with teleconverters offer light weight and Adobe Camera Raw is by upgrading to Photoshop. Also,
convenience, but the quality will start to suffer, especially 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.

78 January 2015 www.digitalcameraworld.com


Why is my 18-
105mm kit lens so
bad at macros?
Graham Collins, South
Pacific
Rod says… Graham explains:
“In my film days I used
extension rings to get a
magnified image. My digital
images are sharp with a
prime lens. So what’s the
problem with my kit lens?”
Well, probably nothing, except
that modern zooms are more
complex than traditional
primes. By using it with
extension rings you’re forcing
it to focus much closer than
its optimum focus range.
HELP ME CHOOSE...
Nikon D610 vs Nikon D750
Key differences
01 Autofocusing
The D610 uses Nikon’s
enthusiast-orientated 39-point
Multi-CAM 4800 autofocus
sensor, but the D750 has the
professional-level 51-point
Multi-CAM 3500 FX autofocus
sensor with the latest
enhancements, including Group
Area AF. As such, it should be
significantly better at handling
fast-moving subjects.
02 Expeed 3 vs Expeed 4
The D610 uses Nikon’s Expeed 3
image processor, while the
D750 has the newer and more
powerful Expeed 4 version. This
does improve the D750’s
continuous shooting speed, but
only by a small amount – the
D610 can shoot at 6fps, while
the D750 manages 6.5fps, so
hardly a deal-breaker.
www.digitalcameraworld.com
03 ISO range
The D750’s Expeed 4 processor
does have an effect on its ISO
range, though: the D610 offers a
maximum non-expanded ISO of
6,400, while the D750 goes one
stop higher to ISO 12800.
04 Movie mode
Both cameras can shoot full
HD movies, but the maximum
frame rate on the D610 is 30p,
while the D750 can go up to
60p, allowing half-speed slow
motion at full HD resolution.
05 Wi-Fi
The D750 has Wi-Fi built in,
but the D610 doesn’t – you
have to use Nikon’s WU-1B
Wi-Fi adaptor, a small and
inexpensive module that
you plug into the camera.
The only camera manual you’ll ever need
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,
Rod says… In order to get
Nr. Southampton
this ‘milky’ effect, conditions
Rod says… Stay with Capture
NX2, Geoff. Nikon won’t
have to be just right. If the
water is relatively still it’s not
update the software for
new cameras, but it works
going to work, because it’s
fine with your D600 and it’s
the movement of the water
actually more powerful than
that creates the blur. Choppy
Capture NX-D.
waves give a better effect
than gentle ripples.
Experiment with the time, as Will Lightroom 5 and
well – longer exposures won’t Elements 12 recognise
necessarily give the best D7100 RAW files?
effect. We did our own Tim Wells, via email
experiments back in issue 9
Rod says… Yes. For the D7100
with a lighthouse (left). We
you need Adobe Camera Raw
got a nice effect where the
7.4 or later, and Elements 12
water became smooth, but
goes up to ACR 8.0. Lightroom
the sea wasn’t rough enough
5 is still current so it gets all
to give the ‘smoky’ effect you
the latest updates.
see in many seascapes.
Nikon D610 £1269, $1597 Nikon D750 £1799, $2297
£1269, $1597 Fixed LCD £1799, $2297 Articulating LCD
The D610 was a modest The 921k-dot LCD on Launched a year after The D750’s LCD boasts
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
plagued by reports diagonal, is very good, D750 boasts a number 1,229k dots, and it’s
of sensor dust. but it’s fixed . of improvements. articulating.
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
the second highest fairly solid 850g, but for has a 24-megapixel despite its tilting screen,
resolution of any full- a full-frame camera it’s full-frame sensor, but the D750 is both slightly
frame Nikon and delivers surprisingly compact at Nikon says the sensor is smaller and lighter than
excellent image quality. just 141x113x82mm. ‘newly-designed’. the D610, at just 840g.
January 2015 79
DANGER! HIPPOS!
Nikon D3, 1/2000 sec, f/8, ISO1000

u
 Lou Coetzer

A sports photographer by
training, Lou Coetzer
is best known as an
award-winning wildlife
photographer. He tells
Keith Wilson why the lilac-
breasted roller is harder to
shoot than Usain Bolt…
itting in the café at the Natural
History Museum in London, Lou
Coetzer is eager to show me his
new book, An Intimate African
Journey. It’s his magnum opus –
a 400-page, Àve-kilogram tome
featuring Àve years’ worth of work, mostly
around the Chobe river in Botswana, a
location he never tires of visiting…

Where is your favourite place for wildlife

photography?
I consider the Chobe to be the best wildlife
photography destination in the world.

The whole world? Not just Africa?

The whole world. I’ll be going back next
month; it will be my 66th time to the Chobe.

What makes the Chobe so remarkable?

I was working with a group of
photographers on the Chobe on a ten-day
trip. We were alternating between the boats
and the vehicles. By the fourth day the guys
CLOSE-UP said, “We’re not going on another vehicle
because the photography from the vehicles
does not match that from the waterside. If

LOU
you’re on the water, you’re among the birds,
you’re among their behaviour, and your
waterside view of elephants, of crocodiles,
of hippos, is completely different to the
landside view.”

You’re more at their eye-level?

Yes, it’s like you’re on a Áoating hide, and
the difference between working from the

COETZER
river and working on the land is huge. You
can manage light – if the sun is rising you
can drift down the river and work that part
of the river and in the afternoon you can
work the other side of the riverbank. You
can move around, and the animals seem
to accept the boat much more quickly into
their private space.

You have been a pro sports photographer

All images: Lou Coetzer

and studio portrait photographer, but is

ZLOGOLIHSKRWRJUDSK\QRZ\RXUÀUVWORYH"
I would like to think I am a master of the
two previous ones. I won the South Africa
Professional Sports Photographer of the

a January 2015 81

FLYING HOME (TOP)
Nikon D3S,
1/8000 sec, f/8, ISO640
HANGING AROUND (BOTTOM)
Nikon D4,
1/2000 sec, f/8, ISO640
Year award, the overall winner. One year I
came second, one year I came third.
So why the switch?
I love sport. I grew up with rugby in my
blood. My Àrst contact with a camera was
when my Dad was running up and down at
an athletics meeting his three boys were in,
all day, with a borrowed =eiss camera with
a 50mm lens, trying to get pictures of his
boys in action and only then realised there
82 January 2015
MORE THAN SHE CAN CHEW
Nikon D4,
1/1600 sec, f/5.6, ISO1600
was no Àlm in the camera! My Dad’s pure
dedication to this thing called photography
left a memory that I never forgot. So
growing up with sport, being passionate
about sport, it was a no-brainer that I
would do sports photography.
During the time when I was a sports
photographer and the time following
that when I was a portrait photographer,
wildlife photography was my hobby.
Telling the story; documenting the action
and interaction with exquisite light; clean
backgrounds, clean foregrounds; these are
all things that come out of my portraiture
background. I still believe this is the
ultimate model for wildlife photography:
using exquisite lighting, attention to detail
with behaviour, action, storytelling.
:KDWZDV\RXUÀUVW1LNRQ"
The F4. I’ve been with Nikon ever since,
except when the company I worked for
went digital and I had to let go of my
Hasselblads. We bought Canons, but at that
time my own cameras were still Nikons. My
best photographs last year were taken not
with the D4 but with the D800.
What is your desert island lens?
I’m in a state of Áux with that. My two
favourite lenses are the 600mm f/4
and the 14-24mm f/2.8. I like extreme
wide-angle wildlife shots, and I love the
600mm f/4 lens. When I was with a group
of Americans in Etosha National Park, I
dropped my 600mm with a 1.4x converter
and a D4 on the end of it, and I couldn’t
www.digitalcameraworld.com
get the converter off. So I decided, ‘Okay
I’m going to take the 400mm f/2.8 and the
D800, that’s all I’ve got now,’ and that’s
what I worked with. Well, I fell in love with
the combination. I got some shots that were
amazing, and I pushed the D800 to levels
that it would not normally be pushed to,
and I just nailed the results. So when I went
to Alaska I took my D800 and 400mm f/2.8
with a converter.
Which converter do you use?
I use all three: 1.4x, 1.7x and 2.0x. I use my
converters extensively. They are pin-sharp
right throughout the range. The problem is
they are shutter-speed hungry. You’ve got to
feed them a fast enough shutter speed and
then they will do the job.
www.digitalcameraworld.com
PROFILE
From sports to safaris, Lou’s career is
varied – but excellence is a constant
■ Lou Coetzer is a South Africa and Kenya, as well as
African-based safari to Alaska.
photographer who began his
■ He developed the world’s
career as a freelance sports
first 360-degree revolving
photographer. He also excels
photography chair
at studio photography.
mounted on boats, which
awards, Lou conducted a
■ Through his company, CNP his clients use on river safaris.
series of wildlife photography
Safaris (www.cnpsafaris.com),
■ In 2014, for the 50th Wildlife masterclasses at the Natural
Lou leads photographic safaris
Photographer of the Year History Museum, London.
to Botswana, Namibia, South
January 2015 83
CLOSE-UP The N-Photo interview

A BRILLIANT
WORKFLOW
An efÀcient workÁow is essential
for a pro photographer. But Lou
Coetzer does not use Lightroom…
How do you stay on top of your workflow?
■ I think I am very effective in my workflow.
I’m more effective, truthfully, than anybody I
have ever worked with – and that’s including
pros. I don’t use the software that they’re using.
Everybody is working with Lightroom. For me
Lightroom is way, way too slow.

So what do you work with?

■ I work with Photo Mechanic (www.camerabits.
com). Now, coming from a sports photography
world, that’s what all the photojournalists
use. It’s a brilliant workflow. When I download
my images I will ingest them through Photo
Mechanic, I will rename them and that name
is going to stay with that photograph forever.
As they are renaming I am rating the images,
and the rated ones go into a ‘To Edit’ folder.
Out of that I will edit images, and they will go
to an ‘Edited’ folder, and that will go into ‘Final
Archiving’. So by the time I go on my next trip, my
archiving is up to date because all my archiving is
based on a RAW file and not on a JPEG reference
file like with Lightroom.
My editing I still do in Nikon Capture NX2.
It’s just so much faster than anything else out
there. I absolutely haven’t found anything more
powerful, more precise or quicker to edit with
than Capture NX2. I take my editing seriously
because I’ve been in a darkroom since I was 14
years old. The final image is very important to
me; it’s got to be impeccable, with no blown LONE GIRAFFE
whites. I find Capture NX2 and Photo Mechanic Nikon D800,
to be absolutely perfect tools to work with. 1/8000 sec, f/9, ISO400

,QZKDWLQVWDQFHVGR\RXXVHÁDVK"
I use Áash very rarely now, simply because
I’m working with long telephoto lenses.
But you use it for studio portraiture?
Obviously, I’m using Áash all the time
there, but for my wildlife photography
I hardly ever use Áash now.
The moment you are on land,
you’re vulnerable. If a hippo
attacks, you’re in danger… No
photo is worth someone’s life
Lou Coetzer, wildlife photographer
Do you have a favourite species?
No, I don’t have a favourite species. The
Chobe is my favourite destination; I prefer
destinations that offer clean foregrounds
and backgrounds. Etosha does it as well,
Masai Mara does it, but to a lesser degree,
and Alaska does it too – but none offers the
abundance of species like the Chobe.
Aren’t hippos meant to be the most
dangerous species of all?
Yeah, they kill more people on the African
continent than anything bar the mosquito.
Doesn’t that unnerve your clients?
They are dangerous, and the closest scares
we have had on the river are with hippos.
We use a long, Áat-bottomed boat. It’s nine
metres in length with eight seats down
the middle. We have sometimes gone over
hippos that have been sleeping in the
water. The boat is very stable, so I’ve never
been concerned that a hippo will capsize it.
The moment you are on the land, though,
you’re vulnerable. If a hippo attacks, then
you’re in danger. The closest shaves we’ve
ever had have been with hippos in these
kinds of situations. We had a calf come out
of the water between us and the mum, and
then the calf had a look and decided to go
and investigate, and as it approached us she
charged, and it was a full-blown attack.
No photo is worth someone’s life. The
lovely thing about working from the boat is
that everybody has 500mm or 600mm f/4
lenses, which allows you to say, “Right, this

84 January 2015 www.digitalcameraworld.com


HYENAS
Nikon D800,
1/5000 sec, f/5.6, ISO500
is the distance we’re working at,” and I can
park the boat at a safe distance.
So the reason for everyone to have the
same long lens means the distance you
keep caters for everyone?
Exactly. It allows everybody to work from
the same distance and yet they don’t all
take the same pictures! At the end of the
day when we sit down and have a look at
their photographs you cannot believe they
have all been studying the same scene.
Safari photography has grown in
popularity in recent years. What
are the main reasons for that?
I think photography in general has
grown in popularity with the advent of
www.digitalcameraworld.com
digital. Everybody now walks around
with a camera in their hands – their cell
phone – and it has just become more
accessible to go on a safari and record
your memories. There is deÀnitely a
growing number of people who are taking
the hobby of photography much more
seriously. The reason for that, I think,
is because, given the right equipment,
given the right circumstances, they can
actually nail world-class images. I know a
lot of professionals – by that I mean other
professionals who are doctors, auditors
or whatever – that are taking home world-
class images because they are in the right
place at the right time, they have the right
equipment and they have got the skill to
take great photographs. So professional
Lou Coetzer
ANTELOPE (TOP LEFT)
Nikon D4,
1/5000 sec, f/11, ISO1250
LITTLE BEE EATERS (TOP RIGHT)
Nikon D800,
1/5000 sec, f/6.3, ISO640
image quality is no longer the domain of
the full-time wildlife photographer.
What’s the oddest thing in your bag?
There’s nothing unusual in my bag. I
have a 14-24mm lens, a 24-70mm lens, a
70-200mm lens, teleconverters, a Áash…
6R\RXVWLOOSDFNWKHÁDVK"
Yeah, I pack the Áash, but I’ll photograph
my clients when we’re driving back against
January 2015 85
CLOSE-UP The N-Photo interview
GRIZZLIES GRAZING
Nikon D800,
1/1000 sec, f/13, ISO640
an African sunset. Give them images to
take home as a memento.
What would you say is the worst thing
about being a safari photographer?
There’s not actually anything I can think of.
Until very recently my wife and I have been
doing this together all the time, but she’s
The more people we get to
climb on safari vehicles… the
more photography will be able
to change people’s thinking
Lou Coetzer, wildlife photographer
86 January 2015
been declared medically unÀt after some
neck operations, so now I Ànd myself being
away from home for long periods. This is
a change in environment for me, getting
used to the fact that I’m away from home
so long, but all the destinations I go to
have got internet so you can Skype, which
means I’m not totally cut off. But in terms
of the wildlife photography, there’s nothing
I can think of. I love it. I love the editing
part, I love the photography.
Is wildlife photography as effective for
raising awareness of conservation as
photographers say it is?
I think we will be much more successful in
reaching our goals in terms of conservation
if we can get more decision-makers to sit
behind a camera. We’ve got to get these
decision-makers to sit behind a camera
on safari and fall in love with wildlife
photography and use that as a conservation
tool. I think we have to get more people
into the veldt behind a camera. I think
many conservation photographers are
talking to the converted most of the time.
The people who are not the converted, they
are the people we should aim at. The more
people we get to climb on safari vehicles, to
climb on boats and go out into the wild and
experience wildlife and see it and fall in
love with it, the more photography will be
able to change people’s thinking.
Do you shoot video at all?
Very rarely.
www.digitalcameraworld.com

Is it something you’d like to do more of?
Yes and no. Last year I had an incredible
sequence of images at the Mara with a
>wildebeest@ crossing that went wrong,
and at one stage I actually said to myself, ‘I
can’t actually record this, no matter what I
say here in these stills I’m not going to tell
the story. I’ve done it as good as I can now.’
I think one of my fortes is really working a
scene: I’ve got an eye for detail, I’ve got an
eye for the wider picture. I can shoot the
wide angle and I can shoot the focus view.
But sometimes you get to the point where
you’re saying, ‘No, I still haven’t told this
story.’ And in the Mara, I then just shot a
little bit of video.
It might be something that I will do more
in the future, but I feel if there’s a time
www.digitalcameraworld.com
PLAYTIME (TOP)
Nikon D4,
1/4000 sec, f/8, ISO800
DON’T MESS WITH MUM (BELOW)
Nikon D3S,
1/2000 sec, f/10, ISO1000
there to nail an individual shot I will not
risk that time. I want to concentrate on
getting that still.
What has been the worst or most
embarrassing moment of your career?
The worst moment is always when I lose
a shot I should have got because I was
stupid or made the wrong decision. I hate
to lose shots. I am a competitive guy. Most
embarrassing, I can’t think of anything
Lou Coetzer
THE BIRD OR
THE BOLT?
+ow does photographing 8sain
Bolt at full speed compare with
shooting fast-moving wildlife"
Lou explains the difference…
Which subject presents the biggest challenge?
■ The most difficult subject is small birds up
close with action, using a telephoto lens. You’ve
got depth of field of a centimetre and a half, and
if they jump they’re out of the frame. I’ve got
sports photographers that come with me, and
once we were photographing a lilac-breasted
roller. It was on the perch and it hit an insect
in flight and came back. I nailed it. This guy
sitting next to me said, “I’m not getting it.” I
said, “You’re focus tracking with lock on. Switch
it off, and try the next one.” He nailed it. I said to
him, “You sports photographers, you think when
Usain Bolt gets out of the tracks that guy’s fast.
Try photographing a lilac-breasted roller!”
January 2015 87
CLOSE-UP The N-Photo interview
GLORIOUS MUD
Nikon D800,
1/4000 sec, f/5.6, ISO400
You’ve got to understand f-stops,
you’ve got to understand exposure,
you’ve got to understand how to
apply that, when to apply that
Lou Coetzer, wildlife photographer
speciÀc. I can’t remember ever not having a
Àlm in my camera like my Dad!
If a young Lou Coetzer was starting out
today would there be anything he would
do differently?
I am actually quite satisÀed with where I
am with my photography at this point in
time. I am in a very comfortable space in
the sense that there are hardly any shots
out there that I don’t know how to nail. I
can shoot the white kingÀsher striking the
water at 1/8000 sec and exiting, and I can
get him pin-sharp.
I think I have a graphic eye to see the
graphic moments out there: the colour,
the texture, the patterns. If I could go out
there with the energy of youth I’d do more
88 January 2015
with remote photography, but I would do it
with the same premise as I do my current
photography. I would love to have had
these new technologies then, but from the
place where I am now as a photographer.
What’s the best piece of advice you can
give to someone starting out today?
I would say that they should really select
and learn from a pro. Well, a pro who’s
prepared to share! If you can get close to a
person like that who’s prepared to take you
under his wing and share his skills with
you, it’s ideal. Along with that you’ve got
to understand the physics of photography
inside out and you’ve got to know your
camera inside out. You’ve got to understand
f-stops, you’ve got to understand exposure,
you’ve got to understand how to apply that,
when to apply that. Interestingly enough,
there’s a big problem with the current
breed of wildlife photographers: I don’t
feel that the technological developments
since the Nikon D3, and the potential that
had, is actually coming through in people’s
photography. I see shots done that could
have been done ten years ago and the guy
writes it was taken with a D4. I think,
‘That can’t be? Haven’t you realised that
this camera has given you the tools to do
this even better? You’re still stuck in your
F4 technology’.
Maybe your F4 mind?
Yes, maybe in your F4 mind. It amazes
me with professional photographers who
www.digitalcameraworld.com
 MARA MIGRATION
Nikon D800,
1/1600 sec, f/11, ISO640

are supposed to lead the way, that they’re

not on top of this. The Nikon D4 is a CHOBE PANORAMA
brilliant tool. But what is the inÁuence of Nikon D3S,
that technology on my photography now? 1/3200 sec, f/7.1, ISO400
The moment I heard that this thing can
autofocus at f/8, I said, “Do it. Show me
now. I need to produce images that the
next guy doesn’t have.”

‡ See more of Lou’s work at www.

loucoetzer.co.za and Ànd out more about
CNP Safaris at www.cnpsafaris.com
‡ Lou’s new book, An Intimate African
Journey, is available to purchase from
www.travelafricashop.com. The
price is £125 (including postage and
packing).

www.digitalcameraworld.com
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90 January 2015 www.digitalcameraworld.com

TEST TEAM The world’s toughest tests

92 January 2015 www.digitalcameraworld.com

 DX-format SLRs

THE CONTENDERS
1 Nikon D3200 £250, $425
2 Nikon D3300 £370, $550
3 Nikon D5200 £380, $500
4 Nikon D5300 £505, $745
5 Nikon D7100 £770, $950

DX-FORMAT SLRs

Sub-£1k shootout!
Matthew Richards looks at the D-SLRs in Nikon’s range that feature
smaller sensors than their full-frame siblings, and smaller price tags...
www.digitalcameraworld.com January 2015 93
TEST TEAM

Nikon D3200
Key facts
Image sensor
When launched, at 24.2 megapixels the
D3200 had the highest pixel count of any
Nikon DX camera, and was second only
to the D800 full-frame camera. However,
it’s now essentially equalled by all other
cameras in this test group.

Autofocus
Typical of Nikon’s entry-level cameras,
the D3200 is fitted with a Multi-Cam
1000 autofocus module which has 11 AF
points, including one cross-type point
at the centre. Autofocus won’t work on
lens/teleconverter combinations with
maximum apertures greater than f/5.6.

Nikon D3200
Continuous shooting
The D3200 has a maximum burst rate of
four frames per second, which is a decent
turn of speed for this class of camera. The
buffer has a generous capacity of up to 18
RAW files, although RAW files themselves
are limited to 12-bit colour depth, without
the larger but more useful option of 14-bit.
Metering sensor
As with other recent Nikons, the D3200
contains a 3D Colour Matrix II metering
sensor. However, it has a modest pixel
count of 420 pixels, compared with 2016
pixels for the D5200, D5300 and D7100.
Metering tends to drift to the bright side,
especially under bright, direct sunlight.
Construction
As with most entry-level cameras
from competing manufacturers,
polycarbonate is the body material of
choice. The D3200 feels reasonably
robust, but not as rigid as the D3300.
The latter is also a little lighter at 460g,
compared with the D3200’s 505g.
Need to know
Like the D3300, D5200 and D5300, the
D3200 has no internal autofocus motor.
This makes autofocus impossible with
lenses that lack a built-in autofocus
actuator. As such, when choosing Nikon-
made lenses, it’s generally best to stick
with ‘AF-S’ models.
It’s the least expensive camera in the group but also the
oldest, and this entry-level model is starting to show its age
DX-FORMAT SLR Nikon D3200 £250, $425 (body only)
obody makes it easier
N for absolute beginners
to get into digital
SLR photography than Nikon.
Originally announced back
in April 2012, the D3200
features the ubiquitous ‘full
auto’ shooting mode, a good
smattering of scene modes,
and all of the more advanced
PASM shooting modes. A key
element to the camera’s success
is that it also includes a ‘Guide’
shooting mode, which acts as a
built-in, interactive tutorial on
photography techniques and
camera settings.
The layout of control dials
and buttons is relatively simple,
in keeping with the camera’s
target market. Even so, there are
sufÀcient direct-access buttons
for a variety of important
shooting settings, as well
www.nikon.com
as a customisable Fn button.
Unlike on the D5200 and
D5300, there’s no pivot facility
for the LCD screen, but the
beneÀt of this is the extra row of
left-hand buttons down the rear
of the camera, for additional
shooting and playback controls.
Performance
We were impressed by the
D3200’s performance when
Matrix metering for this sunny shot has
resulted in the image being too bright
it was Àrst launched, but it’s
since been somewhat eclipsed
by newer cameras like the
D3300 and the more upmarket
D5300. Compared with these,
the D3200’s image quality can
be a little lacking in clarity,
especially in terms of mid-tone
contrast and colour rendition,
while metering tends towards
slight overexposure in bright,
sunny conditions.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
WE SAY… It’s a good camera, but
the D3300 is a significant upgrade.

94 January 2015 www.digitalcameraworld.com

 DX-format SLRs

The D3200 at a glance

Pop-up flash
The built-in, pop-up flash Nikon D3200
has a power rating of Gn 12
(metres, ISO100) and is handy
Lab test results
for adding fill-in lighting. RESOLUTION AT ISO100
Highest number is best
Fn button
You can customise 28
this button for quick
Focus assist lamp access to image 0 5 10 15 20 25 30 35
Whereas competing Canon
quality settings, The D3200 has the worst overall
D-SLRs tend to use an
ISO, white balance scores for resolution in the group,
annoying bright flicker although it equals the D5200 and
or Active D-Lighting
from their pop-up flash, D7100 at ISO100-200.
(on or off).
the D3200 has a built-in AF
assist lamp, as do all other COLOUR ERROR
cameras in this group. Closest to zero is best

-1.7

-3 0 3 6 9 12 15

Colour accuracy isn’t as good as it

is on the later D3300 and D5300.
Shooting mode dial Shutter button area Colour rendition is often on the
Around the shutter button are warm side, as on the D7100.
There’s a good range of
additional buttons for movie
shooting modes, including
start/stop, on-screen info and SIGNAL-TO-NOISE vs ISO
the beginner-friendly, HIghest values are best
exposure compensation.
interactive ‘Guide’ mode. 50

SIGNAL-TO-NOISE RATIO (dB)

45

40

35

30

25

20
0 100 400 1600 6400 25,600

Hotshoe SENSITIVITY

As with all Nikon D-SLRs, Results are better than average

a hotshoe enables TTL throughout most of the sensitivity
range, but nosedive after ISO3200.
flash metering with
dedicated flashguns.
DYNAMIC RANGE
HIghest values are best
13

12
DYNAMIC RANGE (EV)

11

10
9

6
Left-hand buttons 5
0 100 400 1600 6400 25,600
Unlike on the D5200 and SENSITIVITY
D5300, there’s a strip of left-
Scores are pretty good up to about
hand buttons for access to ISO3200 but, based on in-camera
menu options, plus playback metering, bright images can be
and zoom in either Live View
Four-way lacking in highlight detail.
or image review.
pad
The four-way
pad, with an OK OVERALL BENCHMARK
Drive mode button button at its Image quality is good for what
Plentiful drive modes centre, makes has become such an inexpensive
include a ‘Quiet’ option, for easy menu camera, but in use it pays to keep
a check on metering, and to dial
where the reflex mirror navigation.
in a little negative exposure
remains up until you release compensation if needed.
the shutter button.

www.digitalcameraworld.com January 2015 95

TEST TEAM

Nikon D3300
Key facts
Image sensor
Like the D3200, it has a 24.2-megapixel
image sensor, but this time the optical
low pass filter has been removed. As in
only the D5300 in this group, the image
processor is a later-generation EXPEED 4
rather than EXPEED 3 module.

Autofocus
The D3300 uses the same Multi-Cam
1000 autofocus module as the D3200.
This gives 11 autofocus points in total. The
central point is cross-type, so can resolve
detail in both vertical and horizontal
planes, enabling more accurate
performance in challenging situations.

Continuous shooting
At five frames per second, the D3300
beats the D3200 and matches the D5200
and D5300 for maximum burst rate. One
consequence of having a faster drive rate
than the D3200 is that the buffer can only
accommodate 11 shots in RAW quality
mode, rather than the older camera’s 18.
Metering sensor
Another similarity to the D3200 is that
the D3300 has the same 3D Colour Matrix
II metering system with a 420-pixel
module. However, metering proved more
accurate and more consistent in our
tests, compared not only with the
D3200, but also with the D7100.
Construction
The polycarbonate body shell uses the
same one-piece monocoque construction
as the D5300. Despite it being essentially
the same size as the D3200, the weight is
reduced from 505g to just 460g. Even so,
the D3300 body feels reassuringly robust
and solid.
Need to know
The Guide mode that proved so popular
in the D3200 and preceding Nikon entry-
level cameras, including the D3000 and
D3100, has been enhanced in the D3300.
It now includes a ‘Retouch’ section to help
with editing pictures in-camera, and for
applying special effects.
Nikon D3300
With its powerful processor, it sets a new standard for beginner-
class cameras, borrowing heavily from the D5300’s design
DX-FORMAT SLR Nikon D3300 £370, $550 (body only)
fÀcially announced
O in January 2014, the
D3300 followed hot
on the heels of the D5300, but
as an entry-level camera, the
D3300 is more similar to the
older D3200 in terms of build
and handling. For example, it
has an almost identical layout of
buttons and dials to the D3200,
and lacks some of the D5300’s
Àner features like an articulated
LCD screen, Wi-Fi and GPS.
However, the D3300 does
share the D5300’s powerful
EXPEED 4 image processor and
its monocoque construction
(where the main body shell is
moulded from a single piece of
material, adding strength while
reducing weight). These two
features are lacking in all other
cameras in the group. Another
similarity to the D5300, and
www.nikon.com
to the D7100, is that the anti-
aliasing Àlter has been removed,
giving the potential for greater
retention of Àne detail within
images. Creative ‘effects’ are
available when shooting,
thanks to a new position
on the shooting mode dial.
Performance
Compared with the D3200,
performance improvements
The D3300’s images have a fresher look
than those from the older D3200
include a rise in continuous
shooting rate from four to Àve
frames per second, which is very
nippy for an entry-level camera.
The maximum sensitivity
setting also rises from ISO6400
to ISO12800 in the standard
range, and from ISO12800 to
ISO25600 in expanded mode. In
our tests, metering proved more
accurate, and in images there
was greater clarity in mid-tones.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
WE SAY… A very worthwhile
upgrade to the older D3200.

96 January 2015 www.digitalcameraworld.com

 DX-format SLRs

The D3300 at a glance

Shutter button
area Nikon D3300
The front of the top
panel in the shutter
Lab test results
button area isn’t as RESOLUTION AT ISO100
dramatically sloped Highest number is best
as it is on the D3200.
New lens
The new Mk II edition 32
of the 18-55mm VR
lens was launched 0 5 10 15 20 25 30 35
IR receiver with the D3300. It’s
As in the D3200, D5200 Thanks to its EXPEED 4 processor
now available as a kit and the lack of a low-pass filter,
and D5300, an infrared the D3300 and D5300 share the
lens with the D3200,
receiver for an ML-L3 best resolution score in the group.
D5200 and D5300.
remote controller is
integrated into the COLOUR ERROR
finger grip. Closest to zero is best

4.1

-3 0 3 6 9 12 15

The score isn’t as near-perfect as

Shooting mode dial
As with all other cameras
in the group apart from the
D3200, an Effects position
is available on the shooting
Speaker for the D3200 but, particularly for
The speaker for landscape shots, blues and greens
look more natural.
optional beeps is on
the opposite side to
SIGNAL-TO-NOISE vs ISO
the one on the D3200, HIghest values are best
positioned next to the 45

SIGNAL-TO-NOISE RATIO (dB)

mode dial. shooting mode dial. 40

35

30

25

20

Secondary 15
0 100 400 1600 6400 25,600

IR receiver SENSITIVITY

As usual, a secondary Despite scores being a little worse

infrared receiver on the top than for the D3200, image noise
isn’t really any more noticeable.
rear of the body enables the
ML-L3 controller to be used
DYNAMIC RANGE
from behind the camera. HIghest values are best
13

12
DYNAMIC RANGE (EV)

11

10
9

8
Viewfinder 7

Like the pentamirror 6

viewfinders of the D3200, Bottom 5

0 100 400 1600 6400 25,600

D5200 and D5300, this right SENSITIVITY

one gives 95 per cent buttons Technically, it’s a down on some

frame coverage, but The drive mode cameras in the group for dynamic
has a slightly higher and delete range, but plentiful mid-tone
contrast ensures punchy pictures.
magnification of 0.85x. buttons are
placed next to
each other rather OVERALL BENCHMARK
LCD screen than having the More than the sum of its parts, or
The LCD has the same vertical stacking even its lab scores, the D3300
physical dimensions and arrangement seen delivers superb overall image
quality that, when viewing pictures,
resolution as that of the on the D3200.
is an extremely close match for the
D3200, at three inches more expensive D5300.
and 921,000 pixels.

www.digitalcameraworld.com January 2015 97

TEST TEAM

Nikon D5200
Key facts
Image sensor
Its 24.1-megapixel sensor has a resolution
identical to that of the D7100, and it uses
the same EXPEED 3 image processor.
However, whereas the D7100 gives you
the choice of 12- or 14-bit colour depth for
RAW capture, the D5200 is fixed at 14-bit.

Autofocus
Improvements over the D3200 and
D3300, as well as the preceding D5100,
include a Multi-Cam 4800DX autofocus
module with 39 AF-points, nine of them
cross-type. It was first used on the D7000,
and enables better tracking of moving
objects in continuous autofocus mode.

Nikon D5200
Continuous shooting
Whereas the D3200 and D3300 are
limited to 12-bit colour depth in RAW
quality, the D5200’s 14-bit colour depth
has an effect on continuous shooting in
RAW quality mode. It’s pretty quick at five
frames per second, but there’s only space
in the memory buffer for eight shots.
It’s barely any bigger than the D3200 or D3300, but this camera
boasts a fully articulated LCD among its more advanced features
Metering sensor
The 3D Colour Matrix II metering module DX-FORMAT SLR Nikon D5200 £380, $500 (body only) www.nikon.com
takes a step up in resolution from the
D3200 and D3300, with a 2016-pixel ne standout feature of In keeping with its mid-range caused by mirror bounce when
rather than a 420-pixel sensor. Metering
is noticeably more consistent than on the
O Nikon’s D5xxx series
of SLRs is their fully
aspirations, a useful collection
of custom settings is available
using a tripod.

D3200, especially in very bright, sunny
shooting conditions.
Construction
With its multi-piece shell, build quality
is similar to that of the D3200. However,
the D5200 feels marginally more robust,
and the articulated LCD adds an extra
dimension to handling. The overall design
is effective, but relies heavily on menus
for changing shooting parameters.
Need to know
It’s often said that articulated screens
make it easy to shoot from low angles,
using Live View mode. However, they’re
also great for holding the camera high
over your head. In this case, a bonus is
that Live View mode avoids light entering
the viewfinder, affecting the metering.
articulated LCD screens. In fact,
the D5000 was Nikon’s Àrst SLR
to feature an articulated screen,
but the way it tilted down below
the bottom of the camera was
perhaps a little awkward. The
later D5100 and D5200 swapped
to a side-extending swivel
arrangement while maintaining
full upward and downward tilt.
To make room for the
articulation mechanism of the
screen, the usual strip of left-
hand buttons disappears from
the rear of the camera. Indeed,
for a mid-range camera, direct-
access controls are fairly limited.
However, the articulated screen
is certainly great for shooting
from unusual angles, as well
as for movie capture.
from the menu system. It’s
not as wide-ranging as that of
the D7100, but does include
options for autofocus, exposure,
shooting and Áash adjustments
that are lacking in the D3200
and D3300. For example,
an Exposure delay mode is
available for avoiding blurriness
Metering is more reliable than on the
D3200 but greens can be overly strident
Performance
Image quality is decent overall,
with good dynamic range
and high-ISO performance.
However, colour accuracy can
be a little poor, especially in
Landscape and Vivid picture
control modes, where green
hues can become rather lurid.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
WE SAY… Lags noticeably behind
the shiny new D5300.

98 January 2015 www.digitalcameraworld.com

 DX-format SLRs

The D5200 at a glance

Pop-up flash
Nikon D5200
As usual, the pop-up Flash button Lab test results
flash isn’t particularly As with other cameras
RESOLUTION AT ISO100
powerful, but is useful in the group, the flash Highest number is best
for fill-in illumination. button is used not only
to raise the pop-up 28
flash, but also to apply
different flash modes 0 5 10 15 20 25 30 35
On/off lever and flash exposure As with the D3200, which also has
The main on/off lever that compensation. an optical low-pass filter fitted,
surrounds the shutter resolution lags behind newer SLRs
throughout most of the ISO range.
button is common to all
the SLRs in this group.
COLOUR ERROR
Closest to zero is best

5.4

-3 0 3 6 9 12 15

Reasonably accurate in Standard

Stereo microphones mode, but greens in particular
As on the D5300 and D7100, become a bit garish in Landscape
stereo microphones are
Live View lever and Vivid picture control settings.
The D5200 and D5300 are
positioned in the top of the
the only cameras in the group SIGNAL-TO-NOISE vs ISO
viewfinder housing. All HIghest values are best
to feature a lever next to
cameras on test also feature
the shooting mode dial for 45

SIGNAL-TO-NOISE RATIO (dB)

a socket for attaching an
switching Live View on and off. 40

external microphone. 35

30

25

20

Drive mode 15
0 100 400 1600 6400 25,600

button SENSITIVITY

The drive mode button The most impressive scores in the

is positioned on the group. High-ISO images look clean
yet reasonably detailed.
top of the camera – it’s
completely absent from
DYNAMIC RANGE
the subsequent D5300. HIghest values are best
13

12
DYNAMIC RANGE (EV)

11

10
9

LCD screen 7

6
The fully articulated LCD 5
0 100 400 1600 6400 25,600
is definitely the star of the SENSITIVITY
show. It features a high-res
Dynamic range scores are good,
display of 921,000 pixels.
Zoom buttons but images look less punchy, with
The zoom buttons less mid-tone contrast than on the
D3300 and D5300.
normally fitted
on the rear-left of
i button the camera find a OVERALL BENCHMARK
The i button for new home at the The D5200 is capable of producing
accessing the shooting bottom-right. good-quality images and performs
menu is all-important, well at high ISO settings under low
lighting, but the lack of colour
given the relative
accuracy can be an issue,
lack of direct-access especially in landscape images.
control buttons.

www.digitalcameraworld.com January 2015 99

TEST TEAM

Nikon D5300
Key facts
Image sensor
The D5300’s image sensor has the same
14.2-megapixel resolution as the D3200’s
and D3300’s. The optical low-pass filter
has been omitted to give the potential for
greater fine detail in images. The image
processor is the new EXPEED 4 device.

Autofocus
There’s no change in the Multi-Cam
4800DX autofocus module, as used in the
D7000 and D5200. It has 39 AF points,
nine cross-type. This also matches the
D600 and subsequent D610 FX (full-
frame) bodies, so it’s now well established
and boasts good performance.

Continuous shooting
There’s no speed increase over the D5200,
both cameras having a maximum burst
rate of five frames per second. However,
because the D5300 has an option for
12-bit as well as 14-bit colour depth for its
RAW quality mode, the memory buffer
can hold either 13 or six shots respectively.
Metering sensor
On paper, the 3D Colour Matrix II metering
module with its 2016 pixels is the same as
that used in the older D5200 and D7100.
However, in our tests, the D5300 proved
a little more accurate and consistent in
its metering, especially under very bright
and sunny lighting conditions.
Construction
The D5300 was the first Nikon SLR to use
a monocoque design, where the body is
made from a single piece of material. It
feels robust and very well made. As with
the D5200, the articulated screen is a joy
to use, and you can fold the active side of
the screen away for protection.
Need to know
Control over dynamic range is better
than in the D3200 and D3300. As well as
a customisable HDR option, the Active
D-lighting system is more advanced.
Instead of simply being able to switch it
on or off, there are various automatic and
manual options available.
Nikon D5300
With built-in Wi-Fi, this camera is better connected than all
the others in the group, and boasts performance to match
DX-FORMAT SLR Nikon D5300 £505, $745 (body only)
ith the current vogue for
W the interconnectedness
of all things, it’s perhaps
surprising that the D5300 is the
only camera in this entire group
to have built-in Wi-Fi. A free
companion app for Android and
iOS smart devices enables easy
sharing. Equally unique in this
group, the D5300 also has built-
in GPS, so you can automatically
geotag your photos. It’s a neat
bonus for travel photography. To
offset the extra drain on battery
life, there’s also a new, higher-
capacity EN-EL14a battery (as
used in the D3300).
Further attractions include a
fully articulated LCD, which is
both larger and has a slightly
higher resolution than that of
the D5200. The 14.2-megapixel
image sensor gets an updated
EXPEED 4 image processor,
www.nikon.com
and there are enhancements
for stills and video shooting.
For stills, an extra stop in
the standard and expanded
sensitivity ranges reaches
ISO12800 and ISO25600
respectively, and there’s also
now the choice of 12-bit or 14-
bit RAW colour depth. Video is
boosted to 1080p with a 50p or
60p frame-rate, compared with
the D5200’s 25/30p.
Images look beautifully natural with
accurate colour and superb detail
Performance
Both metering and auto white
balance tend to be more
accurate and more consistent
compared with the older D3200
and D5200 cameras, and even
the D7100. The removal of the
optical low-pass Àlters pays
dividends for retention of Àne
detail and texture in images,
and overall image quality is
gorgeous. It’s a great camera.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
WE SAY… For all-round performance,
it’s the pick of the DX crop.

100 January 2015 www.digitalcameraworld.com

 DX-format SLRs

The D5300 at a glance

AF assist lamp
Nikon D5300
The autofocus assist Lab test results
lamp takes its usual
RESOLUTION AT ISO100
position, just inside Highest number is best
the finger grip. Drive mode
button 32
This takes up a
new position and is 0 5 10 15 20 25 30 35
IR receiver uniquely placed in this
There’s the typical A joint leader in the group, the
group of cameras, D5300 has the same high scores
provision of infrared for resolution as the D3300,
just below the lens
receivers on the front throughout the sensitivity range.
release button.
and rear, for remote
controllers. COLOUR ERROR
Closest to zero is best

0.1

-3 0 3 6 9 12 15

Wonderfully lifelike: the D5300

gives a practically perfect score
Shrouded for colour accuracy and beats
buttons Shooting everything else in the test group.

The new monocoque

mode dial
Building on the SIGNAL-TO-NOISE vs ISO
body includes shrouding HIghest values are best
D5200’s options in
for the Menu, i, and
the Effects shooting 45

SIGNAL-TO-NOISE RATIO (dB)

AE-L/AF-L buttons.
mode, the D5300 40

adds Toy camera and 35

HDR Painting. 30

25

20

15

GPS/Wi-Fi 0 100 400

SENSITIVITY
1600 6400 25,600

Labelling makes it look as

For JPEG shooting, the D5300 has
if GPS and Wi-Fi options the best signal-to-noise scores of
might be available from the any camera on test at high ISOs.
Live View lever, but they’re
actually accessed via the DYNAMIC RANGE
Setup menu. HIghest values are best
13

12
DYNAMIC RANGE (EV)

11

10
9

Command dial
As with all but the D7100
in this group, there’s only
a single command dial,
and no sub-command dial
around the front.
LCD screen
The articulated screen is
larger than the D5200’s:
3.2 rather than three
inches, and 1,037,000
pixels rather than 921,000.
6
5
0 100 400 1600 6400 25,600
SENSITIVITY
It’s slightly below the D5200 at
low to medium sensitivity settings
but, in real-world shooting, there’s
Zoom and excellent detail in all areas.
Delete
The placement is
almost identical to on OVERALL BENCHMARK
the D5200, with only As with the D3300, which also
subtle changes to the uses the latest EXPEED 4 image
positions of the zoom processor, overall image quality
is sublime. Colour accuracy and
and delete buttons,
definition throughout the entire
and the memory card tonal range are particularly good.
access lamp.

www.digitalcameraworld.com January 2015 101

TEST TEAM

Nikon D7100
Key facts
Image sensor
Older than the sensors in Nikon’s latest
cameras, this one has a 24.1-megapixel
resolution, as on the D5200. Also, like
the D3200’s and D5200’s, the processor is
older – EXPEED 3 rather than the EXPEED
4 chip featured in the D3300 and D5300.

Autofocus
The Multi-Cam 3500DX autofocus
module boasts 51 AF points, of which
15 are cross-type. The D7100 is the only
camera in the group that can autofocus
with lens/teleconveter combinations
with a maximum aperture of f/8 (without
switching to Live View).

Continuous shooting
The fastest in the group, the D7100 has
a maximum burst rate of six frames per
second, but it’s hamstrung by its fairly
small buffer. Depending on colour bit-
depth and compression settings, there’s
only space for six to nine images
in continuous RAW quality shooting.
Metering sensor
The metering sensor matches those of
the D5200 and D5300, being a 3D Colour
Matrix II system with 2016 pixels. It’s
fairly accurate and consistent in most
conditions but, as on the D3200, can stray
towards overly bright exposures when
shooting scenes under direct sunlight.
Construction
Both polycarbonate and magnesium
alloy are used in the construction of the
D7100’s body shell, and it has a good level
of weather-sealing. It’s a little bigger and
heavier than other cameras in the group,
but feels better balanced when shooting
with large lenses attached.
Need to know
The D7100 is undeniably the most
sophisticated DX-format camera in
Nikon’s current line-up, and has the
best layout of controls to suit advanced
photographers. However, for sheer image
quality, it struggles to hold its
own against newer cameras.
Nikon D7100
Compared to the latest entry-level and mid-range cameras,
Nikon’s top-end DX model looks in need of a revamp
DX-FORMAT SLR Nikon D7100 £770, $950 (body only)
nlike the antiquated
U Nikon D300S, the D7100
isn’t a fully professional
camera but, in handling terms,
it’s the next best thing. It
certainly suits sophisticated
photographers, with a more
advanced layout of controls
than any other camera in the
group. Highlights include a large
secondary info LCD on the top
panel, dual command dials front
and back (instead of just one at
the rear), slick autofocus control
for both AF mode and point-
selection, and more besides.
Settings and custom functions
are also particularly wide-
ranging. For example, where
you can switch on an Exposure
Delay mode in the D5200 and
D5300, here you can also set
the amount of delay to one, two
or three seconds. Similarly, as
www.nikon.com
well as choosing between 12-bit
and 14-bit colour depth for RAW
Àles, you can also select either
regular or lossless compression.
Action shooting credentials
include a class-leading 51-point
autofocus system and six frames
per second drive rate, plus AF
compatibility for f/8 lenses.
This is useful when using, for
example, an f/4 telephoto lens
with a 2.0x teleconverter.
Autofocus can be questionable, and it
sometimes overexposes in bright light
Performance
In most ways, the D7100 lives
up to its aspirations of being an
enthusiast’s camera. However,
like on the D3200, which
also uses an EXPEED 3 image
processor, we’ve noticed some
inconsistency in metering in
bright daylight. Also, we’ve
found that the autofocus system
doesn’t perform as accurately or
as consistently as we’d like.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
WE SAY… It’s a real photographer’s
camera, but could perform better.

102 January 2015 www.digitalcameraworld.com

 DX-format SLRs

The D7100 at a glance

Nikon D7100
IR and Bkt buttons
The front infrared receiver
Lab test results
moves to the other side, RESOLUTION AT ISO100
just next to the Bracket AF button Highest number is best
and Flash buttons. Now common
on upmarket 28
Nikon SLRs, the
0 5 10 15 20 25 30 35
excellent AF
button gives The D7100 set a trend for omitting
Pv & Fn buttons direct access to
anti-aliasing filters in DX cameras.
Customisable ‘Preview’ Even so, its resolution scores
autofocus modes aren’t particularly impressive.
and Function buttons
and AF point-
are available within easy
selection. COLOUR ERROR
reach of the finger grip. Closest to zero is best

3.8

-3 0 3 6 9 12 15

There’s a little more warmth to

colour rendition than in the later
Info LCD D5300 and D3300 but, overall,
Stereo microphones Unique in this group, the
accuracy is pretty good.
Like on the D5200 and D5300,
D7100 matches Nikon’s
stereo microphones are built SIGNAL-TO-NOISE vs ISO
top-spec and specialist SLRs HIghest values are best
into the viewfinder housing,
with an additional info LCD
and the camera also has an 45

SIGNAL-TO-NOISE RATIO (dB)

on the top panel.
external microphone socket. 40

35

30

25

20

15

Shooting mode 0 100 400

SENSITIVITY
1600 6400 25,600

and drive wheels

Images are pretty clean and
Concentric and noise-free even at high ISO
independently locking settings, but can lack fine detail.
wheels are on hand for
shooting and drive modes. DYNAMIC RANGE
HIghest values are best
13

12
DYNAMIC RANGE (EV)

11

10
9

Left-hand buttons 6

Without the articulated 5

0 100 400 1600 6400 25,600

screen of the D5200 and SENSITIVITY

D5300, there’s a more It’s below average for dynamic

conventional array of Live View range at low to medium settings,
left-hand control buttons. A simple lever but performs better than most
others at ISO1600 and beyond.
enables switching
between Live View
Viewfinder and video shooting OVERALL BENCHMARK
The D7100 is the only camera modes, and it Resolution isn’t as good as we’d
in the group to feature encompasses expect, and overall image quality
an upmarket pentaprism the Live View isn’t as impressive as from later
cameras that are based around
viewfinder, rather than a operating button.
the EXPEED 4 processor, like the
pentamirror unit, delivering full D3300 and D5300.
100 per cent frame coverage.

www.digitalcameraworld.com January 2015 103

TEST TEAM

COMPARISON TABLE
HOW THE
CAMERA BODIES
COMPARE
CAMERA D3200 D3300 D5200 D5300 D7100
DATE ANNOUNCED April 2012 January 2014 November 2012 October 2013 February 2013
IMAGE SENSOR / PROCESSOR 24.2Mp CMOS / EXPEED 3 24.2Mp CMOS / EXPEED 4 24.1Mp CMOS / EXPEED 3 24.2Mp CMOS / EXPEED 4 24.1Mp CMOS / EXPEED 3
OPTICAL LOW-PASS FILTER Yes No Yes No No
RAW COLOUR DEPTH 12-bit 12-bit 14-bit 12 or 14-bit 12 or 14-bit
VIEWFINDER Pentamirror, 0.8x, 95% Pentamirror, 0.85x, 95% Pentamirror, 0.78x, 95% Pentamirror, 0.82x, 95% Pentaprism, 0.94x, 100%
ISO RANGE (EXPANDED) ISO 100-6400 (12800) ISO 100-12800 (25600) ISO 100-6400 (25600) ISO 100-12800 (25600) ISO 100-6400 (25600)
AUTOFOCUS MODULE Multi-Cam 1000 Multi-Cam 1000 Multi-Cam 4800DX Multi-Cam 4800DX Multi-Cam 3500DX
AF POINTS/ BUILT-IN AF MOTOR 11-point (1 cross-type) 11-point (1 cross-type) 39-point (9 cross-type) 39-point (9 cross-type) 51-point (15 cross-type)
NARROWEST AF APERTURE f/5.6 f/5.6 f/5.6 f/5.6 f/8
BUILT-IN AF MOTOR No No No No Yes
METERING SYSTEM 3D Colour Matrix II 3D Colour Matrix II 3D Colour Matrix II 3D Colour Matrix II 3D Colour Matrix II
METERING MODULE PIXELS 420 pixels 420 pixels 2016 pixels 2016 pixels 2016 pixelsw
SHUTTER SPEEDS 1/4000 sec to 30 secs, Bulb 1/4000 sec to 30 secs, Bulb 1/4000 sec to 30 secs, Bulb 1/4000 sec to 30 secs, Bulb 1/8000 sec to 30 secs, Bulb
MAX DRIVE RATE / BUFFER (RAW) 4fps / 18 shots 5fps / 11 shots 5fps / 8 shots 5fps / 6-13 shots 6fps / 6-9 shots
VIDEO RESOLUTION (MAX) 1920x1080 1920x1080 1920x1080 1920x1080 1920x1080
WI-FI/GPS None None None Wi-Fi & GPS None
LCD SCREEN 3.0-inch, 921k 3.0-inch, 921k 3.0-inch, 921k, pivot 3.2-inch, 1037k, pivot 3.2-inch, 1229k
MEMORY 1x SD/HC/XC 1x SD/HC/XC 1x SD/HC/XC 1x SD/HC/XC 2x SD/HC/XC
BODY MATERIALS Polycarbonate Polycarbonate Polycarbonate Polycarbonate Mag alloy/polycarbonate
BODY SIZE / WEIGHT 125x96x77mm, 505g 124x98x76mm / 460g 129x98x78mm, 555g 125x98x76mm, 530g 136x107x76mm, 765g
BATTERY / BATTERY LIFE EN-EL14 / 540 shots EN-EL14a / 700 shots EN-EL14 / 500 shots EN-EL14a / 600 shots EN-EL15 / 950 shots

FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL

THE WINNER IS… the most upmarket DX-format SLR in

Nikon’s current line-up. It has a feast

Nikon D5300
The most well-rounded of all the
cameras on test, the D5300 is also
the top performer in the group
With its monocoque design, latest-
generation EXPEED 4 image processor,
articulated LCD screen and built-in Wi-Fi
and GPS, the D5300 is bang up to date. It’s
easy to use, yet packs plenty of advanced
controls to suit enthusiast photographers.
Most importantly, it delivers the most
consistently gorgeous image quality of any
camera in the group, even in the trickiest
lighting conditions.
As a mid-range camera, one thing the
D5300 lacks is a Guide shooting mode for
absolute beginners. The D3300 is more
beginner-friendly and, with practically the
same image quality being delivered from
its 24.2-megapixel sensor and EXPEED 4
processor, it’s a force to be reckoned with.
It’s also standout value for money. However,
it lacks the range of custom settings that
experienced shooters have come to expect.
Compared with the D5300 and D3300,
the older D5200 and D3200 simply don’t
deliver such excellence or consistency. The
same is sadly true of the D7100, which is
of high-end features and controls to suit
advanced, creative photographers. However,
metering and autofocus can both be a little
inconsistent and image quality lags behind
that of EXPEED 4 cameras, most noticeably
in apparent sharpness and mid-tone
deÀnition, making images less punchy.
Ultimately, it seems that Nikon has been
concentrating its efforts on entry-level and
mid-range cameras in the DX line-up, while
making strides in FX (full-frame) cameras
for the enthusiast sector. We think there’s
a lot to be said for DX cameras, particularly
for action, sports and wildlife photographers
who enjoy long ‘effective’ telephoto reach
with sensibly sized and priced lenses. We’d
love to see a replacement for the D7100
with the latest EXPEED 4 processor, or
a revamp of the D300s (see page 112).

104 January 2015 www.digitalcameraworld.com

www.digitalcameraworld.com January 2015 107
 D-SLRS
FROM FULL-FRAME PERFECTION TO RETRO STYLE WITH
CUTTING-EDGE PERFORMANCE, NIKON HAS IT COVERED
FULL FRAME D-SLR OF THE YEAR
NIKON D810
NIKON MAKES THE BEST BETTER WITH ITS
LATEST HIGH-MEGAPIXEL MASTERPIECE
Q FX-FORMAT SLR > £2700, $3300 > www.nikon.com
The D810 picks up the baton where the D800 left
off. It still sports 36.3 megapixels, but now they
are packed onto an all-new sensor capable of
ISO32-51200 in expanded mode. There’s also
no optical low-pass filter, helping to ensure
the sharpest shots possible.
It’s not only a stunning pixel count that makes
the D810 worthy of our top honours, though.
Nikon’s new EXPEED 4 image processor and
Multi-CAM 3500 autofocus module come
straight from the D4S, enabling faster autofocus
performance and a five-frames-per-second
continuous shooting rate. Externally the D810
inherits the same butch build as its predecessor,
with a professional-grade magnesium alloy
chassis and extensive weather sealing. There’s
also a new 1,229,000-pixel, 3.2-inch LCD screen,
as well as a brighter viewfinder.
Overall the D810 is a spectacular camera with
plenty of worthwhile improvements over the
D800 and D800E. If you’re prepared for the hefty
size of the files it can churn out, the D810 can
deliver stunning results with few drawbacks.
UPGRADE IF YOU OWN... a D7100 or D600/610
and want more pixels, but not if you already own
a D800/E, as the D810 is just too similar.
RUNNER UP... NIKON D4S
The D4s may be a big beast, but those dual grips
make it a pleasure to use. It also boasts a rapid
11-frames-per-second continuous shooting
speed and unrivalled low-light capabilities.
108 January 2015
APS-C D-SLR OF THE YEAR
NIKON D5300
HI-TECH FEATURES AND SUPERB IMAGE
QUALITY MAKE THE D5300 A GREAT BUY
Q DX-FORMAT SLR > £580, $800 > www.nikon.com
The mid-point in Nikon’s DX-format range
has always been a sweet spot for value and
performance, and the D5300 is no exception.
Although the D5300 sports nearly the same
pixel count as its predecessor, the optical low-
pass filter has been ditched to help maximise
image sharpness. The new camera is smaller,
lighter and boasts a boosted battery life. But it’s
the D5300’s abundance of toys that sets it apart:
the new 3.2-inch 1,073,000-dot vari-angle LCD is
a stunner, plus there’s now built-in Wi-Fi and
GPS. See page 100 for a full analysis.
UPGRADE IF YOU OWN... a D5100 or D3100 and
want more megapixels and features, but if you
already own a D5200, save your cash for lenses.
RUNNER UP... NIKON D3300
Nikon’s entry-level D-SLR is more appealing than
ever thanks to 24.2 megapixels, five frames-per-
second shooting and a sensitivity range topping
out at ISO25600. Turn to page 96 for more.
INNOVATION OF THE YEAR
NIKON Df
THE Df’S RETRO STYLE MEANS IT
LOOKS LIKE NO OTHER NIKON D-SLR
Q FX-FORMAT SLR > £2300, $2750 > www.nikon.com
If you want a Nikon that stands out from the
crowd (providing it isn’t a crowd of 1980’s film
cameras, that is), then the retro Df is just the
ticket. Inside it’s very much 21st-century
technology, though, with a 16.2-megapixel FX
sensor and EXPEED 3 image processor straight
from the D4. That combo enables a maximum
extended sensitivity of ISO204800, making the
Df rather handy for low-light shooting.
For combining nostalgic style with cutting-
edge performance, the Nikon Df is our clear
winner here.
UPGRADE IF YOU OWN... a conventional Nikon
D-SLR and fancy more style, but give it a miss if
you want the most for your money.
RUNNER UP... F&V HDR-300
This compact LED ring-light shines with both
stills and video thanks to 300 LEDs emitting a
65-degree beam of 5600K daylight-balanced
light. It’ll all but eliminate unsightly shadows.
www.digitalcameraworld.com
 LENSES
MEET THE LATEST NIKON-FIT GLASS THAT CAME TOP OF
THE CLASS FOR BOKEH, LONG SHOTS AND WIDE-ANGLES
BUDGET BOKEH OF THE YEAR
NIKON AF-S 85mm
f/1.8G
FOR BEAUTIFUL BOKEH AT A BUDGET
PRICE, NIKON TAKES TOP HONOURS
Q PRIME LENS > £380, $500 > www.nikon.com
Despite only having a seven-bladed diaphragm,
this lens manages to produce beautiful, creamy
bokeh and surprisingly well-rounded highlights
down to f/2.8. At this aperture, sharpness is
excellent right across the frame, and it’s
impressively high at f/1.8, too. Mount it on an
FX-format Nikon and you’ve got a versatile lens
that’s great for still life, portraiture and general
use. This isn’t the best-specced optic, but great
performance and surprising lightness make it a
joy to use. At this price it’s almost a steal.
UPGRADE IF YOU OWN... Nikon’s 35mm f/1.8 or
50mm f/1.4 and are looking for a longer lens with
smoother bokeh. However, don’t feel you need to
upgrade from the Nikon 50mm f/1.8, as it’s
already a pretty smooth operator.
RUNNER UP... SIGMA 50mm f/1.4 EX DG HSM
An 85mm FX lens on a DX body doesn’t give a
versatile focal length, hence Sigma’s 50mm is a
better match for DX Nikons. You get spectacular
bokeh from its nine-bladed diaphragm.
www.digitalcameraworld.com
BUDGET ZOOM OF THE YEAR
NIKON AF-S 70-300mm
f/4.5-5.6G IF-ED VR
THE BUDGET LENS THAT RIVALS
PROFESSIONAL-GRADE GLASS
Q TELEPHOTO ZOOM LENS > £440, $590 > www.nikon.com
This lens is hardly cheap, but it does represent a
serious step up in performance over Nikon’s 55-
200mm VR or 55-300mm VR optics. In that
sense, it’s a massive money-saver. It boasts a
ring-type ultrasonic autofocus motor, plus
rugged build quality that includes a metal,
weather-sealed lens mount. Two Extra-low
Dispersion lens elements minimise chromatic
aberration and improve sharpness, and you get
Nikon’s superb VR system.
In use, its performance rivals that of a pro-
spec lens. Sharpness is excellent, and those ED-
glass elements do a good job of banishing colour
fringing in high-contrast scenarios. Factor in the
negligible distortion levels, as well as
compatibility with both DX and FX bodies, and
the 70-300mm VR stands out as a terrific all-
rounder that’s well worth the extra outlay.
UPGRADE IF YOU OWN... a kit lens or even
Nikon’s 55-200mm VR, but not if you already
own the excellent 55-300mm VR.
RUNNER UP... TAMRON SP 70-300mm f/4-5.6 DI VC USD
Tempted by the Nikon 70-300mm VR but don’t
fancy splashing out so much cash? This Tamron
gives you similar performance, albeit with
slightly more fringing and no lens mount seal.
WIDE-ANGLE ZOOM OF THE YEAR
SIGMA 10-20mm
F/3.5 EX DC HSM
IMPROVED QUALITY AND A REDUCED
PRICE GIVE THIS LENS THE EDGE
Q WIDE-ANGLE ZOOM LENS > £399, $650 >
www.sigmaphoto.com
Constant aperture ultra-wide lenses usually
command big bucks, but recent price drops (in
the UK at least) have made this lens tempting.
Combine that with the standout sharpness and
colour fringing performance of our most recent
review sample and it’s a bargain.
Distortion levels are also impressive, with
well-controlled barrel distortion at maximum
wide angle that’s eliminated at mid-zoom. By
20mm there’s only a hint of pincushion distortion.
Factor in the benefits of that constant f/3.5
aperture and you’ve got a near-faultless winner.
UPGRADE IF YOU OWN... a standard 18-55mm
or 18-135mm Nikon DX-fit kit lens and want to go
much wider without compromising on quality.
RUNNER UP... SIGMA 10-20mm f/4-5.6 EX DC HSM
Almost a decade old but still going strong,
Sigma’s classic ultra-wide is now quite a bargain.
It’ll worry far pricier lenses with its respectable
sharpness and distortion levels.
109
 ACCESSORIES
WILL THE BEST PHOTOGRAPHY
GADGETS OF 2014 PLEASE STAND UP...?
PHOTO BACKPACK OF THE YEAR
LOWEPRO TRANSIT
BACKPACK 350AW
TRANSFORMS EASILY FROM A PHOTO
BACKPACK TO A SPLIT PHOTO/DAYPACK
Q BACKPACK > £100, $93 > www.lowepro.com
The Transit is designed to work equally well
as a full photo backpack or as split photo/
daypack. The latter is the more versatile and
usable configuration: after pivoting the bag
on its left shoulder strap, a side-access flap
enables you to grab a camera and lens.
In split configuration, there’s enough space
for up to four additional lenses and a flashgun
in the main compartment. The separate upper
compartment is a generous size, and the rear
section will hold a laptop of up to 15 inches.
UPGRADE IF YOU OWN... a backpack that’s
too small, or too flimsy to protect your kit.
RUNNER UP... MANFROTTO ADVANCED
TRI BACKPACK LARGE
Like the Lowepro this backpack can be used as
a split photo/daypack or full photo backpack,
though it’s not as easy to use in full photo mode.
110 January 2015
FLASHGUN OF THE YEAR
NISSIN i40
FED UP WITH FAT FLASHGUNS? CHECK OUT
THIS COMPACT YET POWERFUL ALTERNATIVE
Q FLASHGUN > £204, $269 > www.kenro.co.uk
The i40 manages to pack some serious punch
with its GN40 power rating and fast recycle times.
Despite that, it’s around half the size of an average
flashgun and tips the scales at a featherweight
304g, ready to shoot. Two dials replace a
traditional LCD display, making the i40 refreshingly
simple to use. Nissin has also managed to squeeze
a handy video lamp and a highly-adjustable flash
head into this petite package. The price is a little
steep, but the i40’s compactness and performance
are worth the money.
UPGRADE IF YOU OWN... a D-SLR with a pop-up
flash (or indeed without one) and you want a very
compact flash with plenty of power and control,
but not if you already own a Nikon Speedlight.
RUNNER UP... NIKON SB-910
The i40 is great for travelling light, but demanding
photographers will relish the extra control and
rapid recycling times of the SB-910. TTL metering
is also superbly accurate and consistent.
TRAVEL TRIPOD OF THE YEAR
MEFOTO ROADTRIP
A135OQ1
A TRIUMPH OF COMPROMISE, THIS IS
A PERFECT TRAVELLING COMPANION
Q TRAVEL TRIPOD > £140, $190 > www.mefoto.com
Travel tripods aren’t in short supply, but it’s
not easy to find one that packs small but
extends tall, while also being light yet rigid.
The RoadTrip gets the compromise just
right. It’s not the smallest or lightest set of
legs, but it’ll stay solid under eight kilos of
kit, and at 40cm when packed and just
1.65kg, it won’t be obtrusive either.
At full stretch the RoadTrip tops out at
157cm thanks to its five-section legs. You
also get a compact, high-quality ball head.
It works very well, benefitting from a pan-
only lock and adjustable friction damper.
If the MeFoto name is new to you, its
parent company is Benro, ensuring the
RoadTrip has the same high standard of
design and build as the rest of the Benro
range. It’s also available in a choice of 12
colours, if you want something a bit fun.
UPGRADE IF YOU OWN... a lightweight
but flimsy tripod. Stick with a regular tripod
if you need something taller or tougher.
RUNNER UP... NEST TRAVELLER NT-6294AK
Don’t be put off by this tripod’s 2.15kg
weight, as you get superb quality and
a 15kg load rating. Not just a great travel
tripod, a fine general-purpose support, too.
ACCESSORY OF THE YEAR
LEE FILTERS
LITTLE STOPPER
EXTEND EXPOSURE TIMES DRAMATICALLY
WITH THIS SIX-STOP ND FILTER
Q ND FILTER > £99, $140 > www.leefilters.com
Lee Filters’ Big Stopper was a revelation for
creating silky-smooth long-exposures by reducing
light by ten stops. However, for more manageable
shutter speeds at dawn or dusk, the Little
Stopper’s six-stop reduction is ideal, plus it’ll
retain some texture in moving areas. You’ll need
Lee’s Foundation Kit to mount the Little Stopper,
due to the filter’s larger-than-average dimensions.
This is quality kit, though.
UPGRADE IF YOU OWN... No ND filters, or an ND2
or ND4 filter and want even more scope for motion
blur, but not if you’ve already got Lee Filters’
excellent Big Stopper.
RUNNER UP... HÄHNEL PROCUBE
This mobile power station will juice up two Nikon
EN-EL14 or EN-EL15 batteries simultaneously, plus
it’ll refuel AA cells. UK, USA and Euro plugs are
included, along with a car adaptor.
www.digitalcameraworld.com
 EDITING & PRINTING
LAST BUT BY NO MEANS LEAST, THE KIT
THAT BRINGS YOU THE FINAL RESULTS...
EDITING SOFTWARE OF THE YEAR
PHOTOSHOP CC
PHOTOSHOP’S PRICING PLAN MAY HAVE
CHANGED GREATLY, BUT ITS IMAGE-
EDITING PROWESS HASN’T
Q SOFTWARE > £8.78/$9.99 PCM > www.adobe.com
Photoshop is still the daddy of image-editing
software. Now you can get it with Lightroom
included for a bargain monthly subscription.
Frequent updates continue to add nifty
features, like the Smart Sharpen tool that
maximises clarity while reducing noise, and the
Camera Shake Reduction tool, which can analyse
the direction of movement and digitally reverse
the blur. Then there’s the new Upright tool, with
its ability to straighten lines that it thinks should
be horizontal or vertical. But the biggest cluster
of new features centres on Adobe Camera Raw 8.
In fact, you can now carry out so many everyday
photographic enhancements using Camera Raw
that you may need Photoshop itself less and less.
Photoshop CC’s subscription model ruffled a few
feathers at launch, but now it gives you more
value for money than ever.
UPGRADE IF YOU OWN... Photoshop CS5 or
earlier and can justify the monthly outlay, but
maybe not if you already own a copy of CS6.
RUNNER UP... DXO OPTICSPRO
OpticsPro doesn’t just correct your photos, it
corrects your camera and lenses too. Analysis
of an image’s EXIF data enables automatic
correction of numerous hardware flaws.
www.digitalcameraworld.com
PRINTER OF THE YEAR
CANON PIXMA PRO-1
THIS NO-COMPROMISE BEAST SETS A NEW
BENCHMARK FOR PRINTING PERFECTION
Q A3+ PRINTER > £645, $1000 > www.canon.com
Sometimes an A4 print just doesn’t do a shot
justice, but an A3 image from the Pro-1 is sure to
impress: 12 ink tanks ensure vibrant yet accurate
colour reproduction, as well as rich, tint-free
monochrome output. Tonal separation and
detail reproduction are also exceptional.
At 27.7kg, you’d better have arms like Popeye’s
to lift this lump by yourself, but the up side is
rugged build and space for high-capacity 36ml
cartridges. (These don’t come cheap, with a full
set costing upwards of £200/$300.)
UPGRADE IF YOU OWN... An A4 printer and
want to display your photos in all their glory, but
not if you already own a decent A3 printer, as the
differences are unlikely to be dramatic enough.
RUNNER UP... CANON PIXMA PRO-100
Despite having four fewer ink tanks and half the
print head nozzles of the Pro-1, the Pro-100 still
produces stunning A3 prints. It’s also much less
painful to carry and refill.
EDITING PLUG-IN OF THE YEAR
GOOGLE ANALOG
EFEX PRO 2
MUCH MORE THAN JUST A COLLECTION OF
RETRO FILM FILTERS
Q LIGHTROOM PLUG-IN > £95, $149
> www.google.com/nikcollection
Analog Efex’s filters give your shots instant
impact, especially if you add some lens distortion
or motion blur. For something wackier, try the
vintage and toy camera styles. However, what
really sets Analog Efex apart is its Control Point
selective editing system, which gives you control
over how and where effects are used.
Analog Efex can only be bought as part of the
Nik Collection package, but it’s worth every penny.
UPGRADE IF YOU OWN... Lightroom and want
fuss-free retro filters, but not if you own the full
version of Photoshop and have time to explore it.
RUNNER UP... ONONE PERFECT EFFECTS 8
Perfect Effects is crammed with retro and
modern filters that’ll turn a snapshot into a
stunner. You can even use separate layers and
brush in effects with automatic edge detection.
January 2015 111
 AND FINALLY, WHAT WE’D LIKE TO SEE IN 2015...
IF ANY OF THESE D-SLRS WERE RELEASED IN THE NEXT 12 MONTHS,
THEY’D BE SURE TO MAKE IT ONTO OUR SHORTLIST FOR NEXT YEAR!

BEST FOR BEGINNERS

NIKON D3400
NIKON CAN’T REST EASY IN
THIS CUT-THROAT SECTOR
Q DX-FORMAT SLR > www.nikon.com
Given how much the D3300 offers
for the money, it’s hard to see how its
successor could bring much more to
the table without encroaching on the
D5300’s territory. It’s unlikely we’ll
see the D3400 sporting a more pixel-
packed sensor, but a touch-sensitive
screen would win over cameraphone
converts, as would GPS and built-in
Wi-Fi with NFC pairing. Size matters
in this sector, and if the D3400 could
undercut the Canon 100D’s size and
weight, it’d be even more of a winner
than the D3300 already is.
CREAM OF THE CROPS
NIKON D7200
NIKON’S FLAGSHIP DX-FORMAT
D-SLR IS RIPE FOR REPLACEMENT
Q DX-FORMAT SLR > www.nikon.com
Not only is it becoming harder to make a
case for the D7100 over the D5300 and
even the D3300, but it’s now looking
distinctly dated next to Canon’s ultra-
modern 7D Mark II. It’s about time Nikon
gave DX-format enthusiasts something
to get excited about. More megapixels
aren’t crucial here, but the D7200
would really benefit from a new
image processor for faster continuous
shooting and a broader ISO range with
less noise. Better video performance is
a must too, as is improved autofocus
accuracy and metering performance.

THE LONG SHOT

BACK TO THE FUTURE II
NIKON Df II
THE Df CAN LOOK OLD, BUT IT
NEEDS TO STAY UP-TO-DATE
Q FX-FORMAT SLR > www.nikon.com
Assuming you’re a fan of the retro
look, the Df doesn’t do a lot wrong.
It’s impressive under that ’70s styling,
but its D4 DNA is now a generation
behind Nikon’s latest D-SLRs and is
making the Df look a little dated
already. We’d be happy if the Df II
continued to trade an outright pixel
count for low noise at higher
sensitivities, but a faster burst mode
would help justify the premium price,
as would video recording capabilities.
NIKON D400
WILL WE EVER SEE A
REPLACEMENT FOR THE
MUCH-LOVED D300S?
Q DX-FORMAT SLR > www.nikon.com
Since the D300S was discontinued,
rumours have been rife about a
direct replacement. The D7100 is
marketed as Nikon’s flagship DX
D-SLR, but some still feel it’s a step
down in terms of build and handling.
If a D400 is introduced, it’ll need to
provide a level of control far beyond
that of the D7100, along with faster
focusing, quicker burst shooting
and a longer battery life. However,
considering that Nikon’s D-SLR
line-up is more crowded than ever,
don’t hold your breath for a D400.

112 January 2015 www.digitalcameraworld.com

TEST TEAM The world’s toughest tests

MINI TEST Cokin Snap! Starter Kit

£24, $74
FILTER www.cokin.co.uk

SYSTEMS
This cute little kit is ideal if
you’ve got a Nikon 1 and fancy
experimenting with filters. The kit
can be specced with adaptor rings
between 37mm and 52mm to suit
For long exposures or bright conditions most CSC lenses, as well as some
you’ll need a filter. But which set? entry-level D-SLR kit lenses.
Two filters are included. A soft
f you’ve ever been wowed by a photo of a sunset or graduated warming filter helps
I serene seascape, the FKDQFHVDUHDÀOWHUZDVXVHG
to take it. Achieving shutter speeds slow enough to
create balanced sunset exposures,
although you’d get more colour These dinky filters are perfect for
smooth water can be a challenge without a neutral density control by using a graduated using on smaller Nikons such as
the D3300 or Nikon 1 series
Àlter, and if you’re fed up with choosing between washed-out neutral density filter and tweaking
skies or an underexposed foreground, try a graduated ND Àlter. tones later in software. There’s
Clear at one end and dark at the other, these are great for also a regular ND4 filter that’s
balancing a high-contrast landscape. Of course, there are many more versatile, letting you blur
PROS: Great ND performance
more types of Àlter, but most can now be mimicked with more moving subjects with no
and plenty of scope to expand
control using decent photo-editing software. noticeable colour casting.
CONS: Size limits compatibility
With so many formats on offer, Ànding the right starter set-up Both filters are from Cokin’s
to CSC and small D-SLR lenses
is tricky, so we’ve brought together six kits that’ll help take your extensive A-Series range that
WE SAY: A good value, space-
photography to the next level. The smallest Àlters are ideal for includes over 140 filter types, so
saving starter kit
compact system cameras like the Nikon 1 series, but 100mm- you’ll have no trouble expanding
wide rectangular formats are a must for full-frame D-SLRs. the kit. A three-slot holder enables
Most kits include a holder with space to stack several Àlters some multi-filter creativity. OVERALL
together for added creativity, leaving you to simply source
an attachment ring to Àt your lens’ Àlter thread diameter.

FIVE THINGS TO LOOK OUT FOR… Lee Filters Neutral Density

A good filter system can turn snapshots into stunners.
Hard Grad set £177, $260
Here’s how to pick the right set-up for you www.leefilters.com
01 Shape Lee Filters’ hand-made filters have
All our kits have square or rectangular filters. Round, screw-in acquired a reputation for absolute
alternatives can be cheaper, but they’ll only fit lenses of the quality, and this set is no
same diameter and can’t be positioned to suit your composition. exception. Only the darkest ND8
filter in this trio exhibited a faint
02 Stops trace of a colour cast when
NDs and ND grads are graded according to how much light they shooting a white card, with the
block, eg ND2 (one stop), ND4 (two stops) and ND8 (three stops). ND4 and ND2 filters performing
perfectly. All three are ideal for
03 Neutrality balancing high-contrast
Go for a kit with neutral density filters or ND grads and they landscapes by blocking up to three With virtually no colour cast, you’ll
should be just that: neutral. The darkened section shouldn’t stops of light, and thanks to their get the results you’re looking for
from this set of Lee filters
introduce any noticeable colour cast to the final image. large 100x150mm size you get
plenty of composition control.
04 Material However, top quality doesn’t
Most filters are now made from optical-grade plastic, making come cheap. The filters
PROS: First-class quality, and
them lighter and more shatter-resistant than glass alternatives. themselves are pretty pricey, but
big enough to suit most shots
They are more prone to scratches, though, so handle with care. to actually use them you’ll need to
CONS: Expensive, especially if
fork out an extra £54/$88 for Lee’s
you’re starting from scratch
05 Size matters Foundation Kit filter holder, plus
WE SAY: Not cheap, but these
Smaller P-size filters offer a good balance of portability and lens around £19/$28 for a lens adaptor
filters are hard to beat
coverage, with 100mm-wide filters being a better match for FX ring. Even so, if only the best will
D-SLRs. Smaller A-format kits suit compact system cameras. do and you’ve got deep pockets, it’s
a price worth paying. OVERALL
114 January 2015 www.digitalcameraworld.com

Cokin Landscape Kit 1
£50, $67
www.cokin.co.uk
So you’ve composed a stunning
landscape shot, only to find it ends
up looking bland or washed-out.
That’s where this kit comes in
handy. There’s a blue-to-clear
graduated filter that’s ideal for
restoring colour saturation to a
bright sky, or if you want to spice
up a sunset then the graduated
warming filter will do the trick.
A conventional warming filter
completes the trio and adds a
retro vibe. All are 84mm-wide
P-Series filters and will cover
up to an 82mm lens.
Each filter works well and helps
you get attractive shots without
needing to spend time editing.
However, there’s no escaping the
fact that you’ll get more control by
using software to adjust colours,
while a conventional graduated ND
filter is a better bet for preventing
blown-out skies.
Kood P-Type ND Filter Kit
£44, $73
www.premier-ink.co.uk
Neutral density filters are
just the ticket for increasing
dynamic range or reducing
shutter speeds, and this kit
includes four: ND2 and ND4
densities in both full NDs and
soft grads. Individually they’ll
only block up to two stops of
light, but stack two together and
the results are more dramatic.
Kit versions are available to suit
all standard lens sizes, and you
needn’t worry about upgrade
compatibility as the 82mm filter
size and holder match the popular
P-Series filter dimensions. Each
filter also has rounded corners
for speedier set-up and storage.
We did find the ND4 filters
introduced a slight but noticeable
blue colour cast. However, it’s
nothing software can’t correct and
doesn’t stop the kit from being
exceptional value for money.
www.digitalcameraworld.com
Great if you prefer to do things
in-camera, though you can achieve
similar results in post-processing
PROS: Quality filters at a
reasonable price
CONS: Similar effects
achievable in post-processing
WE SAY: Traditional, but now
superseded by software
OVERALL
For the money this is an excellent
set of filters, though it can
introduce slight colour casts
PROS: Useful filter selection at
a terrific price
CONS: Darker filters prone to
introducing colour casts
WE SAY: Unbeatable value if
you’re not expecting perfection
OVERALL
Filter systems
Formatt-Hitech 100mm Premier
Landscape Filter Kit £399, $599
www.formatt-hitech.com
Formatt-Hitech has teamed up
with pro photographer Colby
Brown to create this kit of
essential landscape filters.
A soft graduated ND4 filter keeps
bright skies in check, while if
you’re shooting a very low sunset,
the ND4 reverse grad features a
flipped graduation to block most
light across a bright horizon.
Both deliver great results with If you want professional-quality
no cast, and the 100mm circular filters, you’re going to have to pay
professional prices…
polariser also performs flawlessly.
Finally there’s the ProStop IRND
6, which reduces light transfer by
six stops. It’s marketed as the
PROS: A good mix of
world’s most neutral ND thanks
professional-quality filters
to its ability to filter visible and
CONS: A serious investment.
infra-red light; however our test
Possible quality-control issues.
example introduced an obvious
WE SAY: A carefully considered
blue colour shift. A replacement
kit for creating stunning shots
was far better, though, hopefully
indicating an isolated issue with
an otherwise excellent kit. OVERALL
SRB P Size ND Soft Grad
Starter Kit £25, $42
www.srb-photographic.co.uk
Like Kood, SRB adopts the 82mm
P-Size filter format for a good
balance of portability and lens
coverage. There’s only a single
filter in the starter kit to get you
going, but it’s a versatile ND4 soft
grad that’s ideal for balancing a
bright landscape exposure. Plus
with extra filters starting at as
little as £12.50/$20.77 a piece,
expanding the kit needn’t break There’s only one filter in this
the bank. SRB throws in a starter kit, though extra ones
are extremely affordable
three-filter holder, cleaning cloth
and storage wallet for eight filters.
All you have to do is choose an
adaptor ring, with 49mm to 82mm
PROS: Good performance and
thread sizes available.
versatility for the money
Considering the budget price
CONS: Not the most neutral
tag, we found the optical quality to
filters on test
be fairly good, with only a slight
WE SAY: A sensible starter kit
blue colour cast visible at the
and easily upgradable
darkest point. Ultimately the Kood
kit gives slightly more bang for
your buck, but it’s a close call. OVERALL
January 2015 115
 SNEAK PEEK AT OUR FEBRUARY ISSUE

NIKON MASTERCLASS

CATCH WIN
A Nikon D5300

A WAVE!
with kit lens!

Discover the key to shooting dramatic,

slow shutter speed seascapes with our
easy-to-follow, step-by-step guide

INTERVIEW

HEAD FOR
THE HILLS
Explore the Swiss Alps and beyond
with mountaineering and adventure
sports photographer David Carlier

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ISSUE 42 | ON SALE THURSDAY 15 JANUARY 2015

January 2015 121

MY BEST SHOT
LITTLE LORD SHIVA
October, 2009 Varanasi, India
Of the 90 countries that
Steve Davey has visited
for the world’s best-known
travel magazines, one stands
out as his favourite. “India,”
he says without hesitation.
“Photographically, it’s stunning,
partly because the people really
122 January 2015
Nikon D3X
get photography. They get why
you want to photograph them
and they tend to really enjoy
being photographed.”
Five years ago, he was in the
back streets of the holy city of
Varanasi, looking for a café. “I’d
been out on a boat with a group
Image: Steve Davey
Steve Davey
Steve is best
known as the
author of
Unforgettable Places to
See Before You Die and
Unforgettable Islands to
Escape to Before You Die.
A proliÀc traveller, he
runs travel photography
workshops all over the
world. His most recent
books are Around the
World in 500 Festivals,
and Footprint Travel
Photography.
www.stevedavey.com/
travelphotography.html
this image on Àrst seeing the
boy. “When I instruct people
about composition I tell them
to stop and think about what
they are trying to say and
what tools they should use
in order to say it. So, it’s the
choice of lens, the viewpoint,”
he says. Steve chose the wide
end of his Nikon 24-70mm
f/2.8 zoom and a high
viewpoint to emphasize the
boy’s face and hand. An
aperture of f/5 reduced depth
of Àeld so his eyes are in
focus, and the tin of coins in
his other hand defocused yet
recognisable.
The reaction
Although the picture is one
of Steve’s favourites, it hasn’t
been a commercial success.
“I think all photographers
have their favourite shots
that they love and they keep
putting them out there – and
they keep getting knocked
back! Maybe that’s one of the
reasons I like it.”
While beggars in India
are willing to play to the
on the Ganges to see the sunrise camera, Little Lord Shiva
over the river.” It was now
mid-morning and Steve spied
was withdrawn. “There are
other street urchins who are
a little beggar boy, dressed as
Shiva, the Hindu god of creation
and destruction. “He was
standing with his hand raised
laughing, chatting, and you
know they are going to do
quite well in life, but this kid
looks so frail. To be honest,
as Shiva is usually depicted, but there aren’t many people
with these sad eyes. He didn’t who want pictures of begging
rush out. He looked frail and children. It’s not going to
was quite subdued, which is make it into a travel brochure.
odd for a beggar.” It’s not the image publishers
Because the boy was standing want to show. I keep being
still, Steve had time to compose asked for a hackneyed shot of
the picture in the way that sunrise over the Ganges!”
matched how he visualised Keith Wilson
www.digitalcameraworld.com
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