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| Nikon D90, AF-S DX NIKKOR 18-55mm f/3.5-5.6 G VR 1/5 s @ f/9.0, ISO 400 |
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| Nikon D90, AF-S DX NIKKOR 18-55mm f/3.5-5.6 G VR 1/5 s @ f/9.0, ISO 400 |
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| Nikon D90, AF-S DX NIKKOR 18-55mm f/3.5-5.6 G VR 1/5 s @ f/9.0, ISO 400 |
News, Muse and Reviews for Aspiring Lensmen.
Tuesday, December 31, 2013
Holiday Lights
Sunday, December 22, 2013
Photos of Ellie Dees
Reflex Lens Bokeh
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| Nikon D90, Samyang/Pheonix Reflex 500mm f/8. 1/30 s, ISO 3200 |
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| Nikon D90, Samyang/Pheonix Reflex 500mm f/8. 1 s, ISO 400 |
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| Nikon D90, Samyang/Pheonix Reflex 500mm f/8. 1 s, ISO 400 |
Monday, December 16, 2013
Happy Birthday Me
January 2014; a new tax year, and perfect timing to fulfill my full-frame prophecy with the Nikon D610. Especially since my birthday is the 24th.
Along with that purchase comes a whole new set of lenses, one third wider, at no extra charge. Manual focus in the digital space will take on a whole new meaning with auto exposure capability. My Lensbaby will finally be all it can be. But the lens I’m most excited about is this one:
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| AF-S NIKKOR 24-85mm f/3.5-4.5 G ED VR |
Thursday, November 28, 2013
Chasing Rainbows
I’m really getting tired of reading about the whole Nikon D600/610 debacle. There is no D610, really. It’s a D600, with an improved shutter.
Yes, Nikon made a boo-boo. They released a camera with an over-lubricated shutter, of questionable design. Then they fixed it. They could have just put the new shutter in the D600 and done with it. But the implications of that would have been to offer a free retrofit to all the existing D600 users. And that would have been a nightmare.
If you enjoy using Nikon cameras as I do, and you want them to be around a while, remaining solvent in the face of Canon, then you will understand this decision. And this is exactly why I NEVER purchase a product the moment it comes out. So if you bought a D600 and you can’t get past sending your camera back to Nikon to have it cleaned and/or repaired, then don’t come complaining to me (through repeated posts on the internet.)
Everyone’s complaining that the D610 is not an earth-shattering upgrade. It’s not supposed to be. Basically Nikon got it right with the D6XX. Nikon has now set us down an upgrade path with the transition to a numbering system which allows for such permutations. The successor to the D60 was the D3000, and the successor to the D90 was the D7000. We’re now up to the D3200 and D7100. This allows for quicker upgrades with more incremental features to keep the market moving. Get used to it, my friends, because this is never going to change. These are not your father’s SLRs.
The D610 will probably be short-lived, as it is the continuation of the D600. The D620 will probably last longer, and I can say almost without a doubt that it will not have an AA filter. For better or for worse.
So, is my decision to buy the D610 now a sound one? Personally, I was on the fence about the D800 vs. the D800/E. Less is more? So I have to pay extra to not have an AA filter? The D610 kind of helps that decision along.
The Bayer-filter sensor technology is supposed to have an AA filter. Simply taking this filter out is, to my way of thinking, a cheesy workaround. Fujifilm solved the issue completely by designing a sensor with randomly placed photosites. No AA filter is necessary by design. Genius.
Yes, Nikon made a boo-boo. They released a camera with an over-lubricated shutter, of questionable design. Then they fixed it. They could have just put the new shutter in the D600 and done with it. But the implications of that would have been to offer a free retrofit to all the existing D600 users. And that would have been a nightmare.
If you enjoy using Nikon cameras as I do, and you want them to be around a while, remaining solvent in the face of Canon, then you will understand this decision. And this is exactly why I NEVER purchase a product the moment it comes out. So if you bought a D600 and you can’t get past sending your camera back to Nikon to have it cleaned and/or repaired, then don’t come complaining to me (through repeated posts on the internet.)
Everyone’s complaining that the D610 is not an earth-shattering upgrade. It’s not supposed to be. Basically Nikon got it right with the D6XX. Nikon has now set us down an upgrade path with the transition to a numbering system which allows for such permutations. The successor to the D60 was the D3000, and the successor to the D90 was the D7000. We’re now up to the D3200 and D7100. This allows for quicker upgrades with more incremental features to keep the market moving. Get used to it, my friends, because this is never going to change. These are not your father’s SLRs.
The D610 will probably be short-lived, as it is the continuation of the D600. The D620 will probably last longer, and I can say almost without a doubt that it will not have an AA filter. For better or for worse.
So, is my decision to buy the D610 now a sound one? Personally, I was on the fence about the D800 vs. the D800/E. Less is more? So I have to pay extra to not have an AA filter? The D610 kind of helps that decision along.
The Bayer-filter sensor technology is supposed to have an AA filter. Simply taking this filter out is, to my way of thinking, a cheesy workaround. Fujifilm solved the issue completely by designing a sensor with randomly placed photosites. No AA filter is necessary by design. Genius.
For a while I was saying that D800/E would be my last camera. Which would mean that when Nikon (or should I say, Sony) comes out with a completely new sensor technology, I would not be invited to the party. But, by keeping my next purchase conservative with the D610, I can rationalize this new upgrade.
Yes, the D6XX series looks like the right choice for me at this time. Let’s see what bargains Friday has to offer.
Wednesday, November 27, 2013
Working the D50
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| Nikon D50; IR solution turned compact daily shooter. |
The D50 is one solid, simple DSLR. Compared to the D70 it replaced, it has slightly enhanced performance in a smaller, simpler to operate package. Except for the most basic functions, the D50 is essentially menu-driven, which is OK, because the menus are quite simple compared with such cameras as the comprehensive D90. It’s only slightly larger than the diminutive D3100, but feels more solid in the hand. And, it retains the ability to work with D-series lenses, and has a top-deck LCD display, which the D3100 does not.
And for me, the D90 user, it works with all my D90-compatible goodies, including batteries and SD cards. No battery grip (save for third-party options) but then it’s nice to just to use it as-is and travel light.
As an out-of-the-box IR camera, the D50 will white balance through the R72 filter, and makes pleasing tobacco and pale blue split-toned images which need little or no post processing.
Veering Toward the D610...
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| Nikon D610: The full-frame DSLR for the lean conscious. |
I’ve seen the D600 referred to as an entry-level camera. Perhaps. But it’s certainly not short on features, and it sports a magnesium alloy body and weather sealing just like the big boys. And at 24MP, it offers higher resolution than a 12MP DX camera without the sensor congestion. In DX crop mode, the resolution is 10MP (not exactly shabby) which means that it’s less dense than my D90, and that’s a good thing. Now the D610 comes along with a new and improved shutter, and any hesitation arising from the oil problem is moot.
The thing is, I’ve been putting too much emphasis on the DX performance of the camera. Sure, I can shoot a 15MP image on the D800, but the whole point of this camera is to work with my full-frame lenses, which actually outnumber my DX ones. If I plan on shooting DX, I can just use my D90, which is fine since I have no plans of unloading it anytime soon.
And to be honest, I’d get far more out of the full auto mode, scene modes, and U1 and U2 banks than I would a resolution that my current lenses won’t even be able to take full advantage of.
Also, I’ve never been quite sold on Nikon’s “Pro” control layout, sans mode dial. Even the professional Canon 6D has one, including a scene setting. And while it would be nice to have that “Pro” style metering selector and eyepiece shutter, I won’t miss them as much as the $800.00 in my pocket.
Yet another added benefit is that the the D610 is compatible with non-pro accessories such as the DR-6 and DK-21M viewfinder accessories that I already own. In fact, these fit all my Nikon SLRs, since the N80, D50, and D90 all have interchangeable viewfinder eyecups and accessories.
The D610 is a new breed of Nikon. It’s clearly not an entry-level camera, otherwise it would be the D6100. But it’s not exactly a D6 either, despite its pro-like build, features, and performance. The D200, 300 and 700 all featured pro-style tampo’d logos, and weather-sealed magnesium bodies. The D610 has the machined-style logo of the DXX-series and the mode dial I’ve grown to love, but also has all the important pro features I’d ever need.
It’s fairly compact, too, weighing in somewhere between the D90 and D 800/E.
Yup. I’m thinking I’m really going to like this camera.
Why the Nikon Df Won’t Be My Next DSLR
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| The Nikon Df: The Classic Design of the 1970s SLR in digital form. |
From the moment I learned of this camera, I felt as if Nikon had formed an empathic link with me. A digital SLR with traditional controls? An actual shutter-speed dial? The ability to meter with pre-1977 lenses? Wow.
Friday, November 1, 2013
Camera Size Equilibrium
The drive in all electronic devices always seems to be, “smaller is better” and cameras are no exception. However, there is also a little saying that goes like this…
“form follows function”.
Tuesday, October 29, 2013
Sony Cyber-shot DSC-RX10
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| Sony Cyber-shot DSC-RX10; 1", mirrorless, with a finder. Wow. |
What first caught my eye was the sleek design of this SLR-like camera. And then, I looked a little deeper…
Saturday, October 26, 2013
Sony Alpha a7R vs. Sony 7R
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| Sony 7R; The world’s first Full-frame MILC |
Introducing the world’s first full-frame, mis-labeled MILC…
Saturday, October 19, 2013
Hugo’s Clock
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| Clock from the 2011 film Hugo, directed by Martin Scorsese |
Friday, September 27, 2013
Tuesday, September 24, 2013
Tuesday, September 17, 2013
When the CR123 batteries in my N80 died prematurely, I started seriously considering rechargeable Li-ion batteries. Unfortunately, I wasn’t finding the right combo of charger and voltage (they really have to be 3V; not 3.6, not 4.2.) Then, I came across these in, of all places, Home Depot.
I’ve been reading mixed reviews regarding the capacity and reliability of these Li-ion batteries, so until I find a set of genuine 3V batteries with a charger that plugs directly into the wall, this seems like a good solution. Fortunately, since their adoption by LED flashlights, they should be around for quite a while. The fact that they were used predominantly in 135 film cameras doesn’t bode well for their longevity by itself.
Tuesday, September 10, 2013
Taming the Li-ion
After a full charge, I put my P5100 battery in an Irwin clamp to see if I could compress it back into shape. It’s still a bit chubby, but it slips in and out much more easily without the need to tug on the tab. So, the prognosis is looking good. If for nothing else, it'll encourage me to go back to using this camera for a while as I test the longevity of the battery.
Sunday, September 8, 2013
Nikon Fat Pack Batteries
Pulled out my trusty Nikon CoolPix P5100 this morning, and found it had a dead battery. And when I went to charge it, it wouldn’t pop out. The reason? It had expanded.
This actually happened to my wife’s battery long before mine. I ordered her a new one, but before I do the same for mine, I’m going to give it a full charge and workout to see if it’s OK. Then, I’ll put a clamp on it to see if I can compress it back to its original dimensions.
For now, I have a little scotch-tape tab on it to pull it out, instead of rapping the case on my palm. If it works, but won't contract, I’ll devise a more permanent tab.
Wednesday, September 4, 2013
Nikon Digital SLR Guide, 1999-2010
High-end (Professional) - FX/Full Frame sensor
Nikon D3, August 23, 2007
Nikon D3X, December 1, 2008
Nikon D3S, October 14, 2009
High-end (Prosumer) - FX/Full Frame sensor
Nikon D700, July 1, 2008
High-end (Professional) - DX sensor, high resolution
Nikon D1, June 15, 1999
Nikon D1X, February 5, 2001
Nikon D2X, September 16, 2004
Nikon D2XS, June 1, 2006
High-end (Professional) - DX sensor, high speed
Nikon D1H, February 5, 2001
Nikon D2H, July 22, 2003
Nikon D2HS, February 16, 2005
High-end (Prosumer) - DX sensor
Nikon D100, 21 February 2002
Nikon D200, 1 November 2005
Nikon D300, 23 August 2007
Nikon D300S, 30 July 2009
Midrange - DX sensor
Nikon D7000, 15 September 2010
Midrange (Consumer) - DX sensor
Nikon D70, 28 January 2004
Nikon D70S, 20 April 2005
Nikon D80, 9 August 2006
Nikon D90, 27 August 2008
Nikon D5000, 14 April 2009
Entry-level (Consumer) - DX sensor
Nikon D50, 20 April 2005
Nikon D40, 16 November 2006
Nikon D40X, 6 March 2007
Nikon D60, 29 January 2008
Nikon D3000, 30 July 2009
Nikon D3100, 19 August 2010
Nikon D3, August 23, 2007
Nikon D3X, December 1, 2008
Nikon D3S, October 14, 2009
High-end (Prosumer) - FX/Full Frame sensor
Nikon D700, July 1, 2008
High-end (Professional) - DX sensor, high resolution
Nikon D1, June 15, 1999
Nikon D1X, February 5, 2001
Nikon D2X, September 16, 2004
Nikon D2XS, June 1, 2006
High-end (Professional) - DX sensor, high speed
Nikon D1H, February 5, 2001
Nikon D2H, July 22, 2003
Nikon D2HS, February 16, 2005
High-end (Prosumer) - DX sensor
Nikon D100, 21 February 2002
Nikon D200, 1 November 2005
Nikon D300, 23 August 2007
Nikon D300S, 30 July 2009
Midrange - DX sensor
Nikon D7000, 15 September 2010
Midrange (Consumer) - DX sensor
Nikon D70, 28 January 2004
Nikon D70S, 20 April 2005
Nikon D80, 9 August 2006
Nikon D90, 27 August 2008
Nikon D5000, 14 April 2009
Entry-level (Consumer) - DX sensor
Nikon D50, 20 April 2005
Nikon D40, 16 November 2006
Nikon D40X, 6 March 2007
Nikon D60, 29 January 2008
Nikon D3000, 30 July 2009
Nikon D3100, 19 August 2010
Nikon Film Camera Guide, 1959-2005
Film 35 mm SLR cameras with manual focus
Nikon F series (1959–1972, known in Germany for legal reasons as the Nikkor F)
Nikon FTN Single-lens reflex camera
Nikkorex series (1960–1964)
Nikkormat FT series (1965–1977, known in Japan as the Nikomat FT)
Nikon F2 series (1971–1980)
Nikkormat EL series (1972–1977, known in Japan as the Nikomat EL)
Nikon EL2 (1977)
Nikon FM (1977)
Nikon FE (1978)
Nikon EM (1979)
Nikon F3 series (1980–1997)
Nikon FG (1982)
Nikon FM2 series (1982–2000)
Nikon FE2 (1983)
Nikon FA (1983)
Nikon FG-20 (1984)
Nikon F-301 (1985, known in North America as the N2000)
Nikon F-601M (1990, known in North America as the N6000)
Nikon FM10 (1995)
Nikon FE10 (1996)
Nikon FM3A (2001)
Film APS SLR cameras
Nikon Pronea 600i / Pronea 6i (1996)
Nikon Pronea S (1997)
Film 35 mm SLR cameras with autofocus
Nikon AC-2E Data Link System (1993)
Nikon F3AF (1983, modified F3 body with Autofocus Finder DX-1)
Nikon F-501 (1986, known in North America as the N2020)
Nikon F-401 (1987, known in the U.S. as the N4004)
Nikon F-801 (1988, known in the U.S. as the N8008)
Nikon F4 (1988)
Nikon F-401S (1989, known in the U.S. as the N4004S)
Nikon F-601 (1990, known in the U.S. as the N6006)
Nikon F-401X (1991, known in the U.S. as the N5005)
Nikon F-801S (1991, known in the U.S. as the N8008S)
Nikon F90 (1992, known in the U.S. as the N90)
Nikonos RS (1992) - for use underwater.
Nikon F50 (1994, known in the U.S. as the N50)
Nikon F70 (1994, known in the U.S. as the N70)
Nikon F90X (1994, known in the U.S. as the N90S)
Nikon F5 (1996)
Nikon F60 (1999, known in the U.S. as the N60)
Nikon F100 (1999)
Nikon F65 (2000, known in the U.S. as the N65)
Nikon F80 (2000, known in the U.S. as the N80)
Nikon F55 (2002, known in the U.S. as the N55)
Nikon F75 (2003, known in the U.S. as the N75)
Nikon F6 (2004)
Rangefinder cameras
Nikon SP rangefinder camera
Nikon I (1948)
Nikon M (1949)
Nikon S (1951)
Nikon S2 (1954)
Nikon SP (1957)
Nikon S3 (1958)
Nikon S4 (1959)
Nikon S3M (1960)
Nikon S3 2000 (2000)
Nikon SP Limited Edition (2005)
Underwater (Scale-Focus) Cameras
Nikonos I (1963, originally known in France as the Calypso/Nikkor)
Nikonos II (1968)
Nikonos III (1975)
Nikonos IV-A (1980)
Nikonos V (1984)
Nikon F series (1959–1972, known in Germany for legal reasons as the Nikkor F)
Nikon FTN Single-lens reflex camera
Nikkorex series (1960–1964)
Nikkormat FT series (1965–1977, known in Japan as the Nikomat FT)
Nikon F2 series (1971–1980)
Nikkormat EL series (1972–1977, known in Japan as the Nikomat EL)
Nikon EL2 (1977)
Nikon FM (1977)
Nikon FE (1978)
Nikon EM (1979)
Nikon F3 series (1980–1997)
Nikon FG (1982)
Nikon FM2 series (1982–2000)
Nikon FE2 (1983)
Nikon FA (1983)
Nikon FG-20 (1984)
Nikon F-301 (1985, known in North America as the N2000)
Nikon F-601M (1990, known in North America as the N6000)
Nikon FM10 (1995)
Nikon FE10 (1996)
Nikon FM3A (2001)
Film APS SLR cameras
Nikon Pronea 600i / Pronea 6i (1996)
Nikon Pronea S (1997)
Film 35 mm SLR cameras with autofocus
Nikon AC-2E Data Link System (1993)
Nikon F3AF (1983, modified F3 body with Autofocus Finder DX-1)
Nikon F-501 (1986, known in North America as the N2020)
Nikon F-401 (1987, known in the U.S. as the N4004)
Nikon F-801 (1988, known in the U.S. as the N8008)
Nikon F4 (1988)
Nikon F-401S (1989, known in the U.S. as the N4004S)
Nikon F-601 (1990, known in the U.S. as the N6006)
Nikon F-401X (1991, known in the U.S. as the N5005)
Nikon F-801S (1991, known in the U.S. as the N8008S)
Nikon F90 (1992, known in the U.S. as the N90)
Nikonos RS (1992) - for use underwater.
Nikon F50 (1994, known in the U.S. as the N50)
Nikon F70 (1994, known in the U.S. as the N70)
Nikon F90X (1994, known in the U.S. as the N90S)
Nikon F5 (1996)
Nikon F60 (1999, known in the U.S. as the N60)
Nikon F100 (1999)
Nikon F65 (2000, known in the U.S. as the N65)
Nikon F80 (2000, known in the U.S. as the N80)
Nikon F55 (2002, known in the U.S. as the N55)
Nikon F75 (2003, known in the U.S. as the N75)
Nikon F6 (2004)
Rangefinder cameras
Nikon SP rangefinder camera
Nikon I (1948)
Nikon M (1949)
Nikon S (1951)
Nikon S2 (1954)
Nikon SP (1957)
Nikon S3 (1958)
Nikon S4 (1959)
Nikon S3M (1960)
Nikon S3 2000 (2000)
Nikon SP Limited Edition (2005)
Underwater (Scale-Focus) Cameras
Nikonos I (1963, originally known in France as the Calypso/Nikkor)
Nikonos II (1968)
Nikonos III (1975)
Nikonos IV-A (1980)
Nikonos V (1984)
NIKKOR IX APS-C Lenses
Before the APS-C DSLR came the APS film SLR, and with it a series of 1.5x crop factor lenses known as the IX series. Even though they have angles of view and coverage circles comparable with APS-C DSLRs You cannot use them. Why? because they reach further into the lens mount, interfering with the mirror. It would be possible to use them with full-time mirror lock-up, but then you wouldn’t be able to focus, or , on all but professional cameras, set the aperture. But, just for fun, here’s a rundown of what was available between 1996 and 2000.
Break Out the Brollies
When it comes to portrait photography, the classic umbrella is my stock in trade. Nothing beats it for portability and versatility.
Thursday, August 29, 2013
Rolleiflex 3.5 M-X Synch Twin-Lens Reflex
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| The Timeless Rolleiflex 3.5 M-X Synch TLR |
Monday, August 26, 2013
Review: AF-S NIKKOR 50mm f/1.4G
This FX-format lens is my go-to lens for portrait and macro work in the DX format. It combines ultra-fast speed with incredible sharpness in an autofocus lens that is manual-focus friendly.
First Impressions: AF-S NIKKOR 50mm f/1.4G
I was surprised to learn that the AF-S 50mm f/1.4 is not that much larger that the AF-S DX 35mm. It is however heavier, weighing in at 9.8 oz., minus caps and hood. The 35mm is a mere 7.0 oz. by comparison. The large, recessed objective lens gives the AF-S 50mm a serious, intimidating appearance.
Review: AF-S DX Nikkor 35mm f/1.8 G
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| AF-S DX NIKKOR 35mm f/1. |
On a DX, or APS-C sensor camera, 35mm translates to 52.5mm in the full-frame world of 35mm. This lens combines that “normal” perspective with an f/1.8 maximum aperture to create a “normal” lens for DX cameras with the performance users have come to expect in a standard 50mm f/1.8 lens.
This is the “normal” lens of today; everything you need, and nothing you don’t. Tack sharp down to the next to lowest aperture, and more than a full stop faster than the typical compact digital camera. The aperture ring and focus scale have been omitted, and the cost savings put into the excellent optics and autofocus system. It’s not designed to be a wide angle lens as its focal length suggests, but rather a solution for those seeking the traditional, fixed-focal length standard lens in the DX format.
That said, unlike most DX lenses, when used on an FX or 35mm film camera the image circle almost covers the full frame. Wide open, it provides a Holga 135BC-like “black corner” effect, which can be quite effective. So although it will not substitute for the AF-S Nikkor 35mm f/1.4G, its use on an FX/35mm body remains a distinct possibility.
On an APS-C body, it does indeed provide the angle of view comparable to that of a normal lens. However, it’s close focus distance extends its macro capability. It would not be my first choice for use with extension tubes though, due to a short working distance.
What’s missing from this lens is a focus scale. However, this saves cost making this the sharpest, fastest lens for its price in the Nikon lineup. Along with this omission are a depth of field scale and infrared index, all features we have come to appreciate in “Normal” lenses.
What’s included is the usual storage pouch, and a reversible bayonet-mount circular hood. The reversibility of these hoods works particularly well in prime lenses, as they often block the zoom ring. And with autofocus, access to the focus ring is less essential.
Aperture Ring None. Aperture is controlled through the command dial on the camera body.
Auto Focus Built-in Silent-Wave motor makes this lens compatible with professional, semi-professional and entry-level cameras. Average focus speed and very accurate.
Bokeh As this is technically a wide-angle lens, the bokeh suffers and ranges from fair to poor.
What’s included is the usual storage pouch, and a reversible bayonet-mount circular hood. The reversibility of these hoods works particularly well in prime lenses, as they often block the zoom ring. And with autofocus, access to the focus ring is less essential.
Auto Focus Built-in Silent-Wave motor makes this lens compatible with professional, semi-professional and entry-level cameras. Average focus speed and very accurate.
Bokeh As this is technically a wide-angle lens, the bokeh suffers and ranges from fair to poor.
Close Focus 12". Short working distance when used with close-up filters and extension tubes.
Color Rendition Typical of most NIKKOR AF-S lenses.
Compatibility Works with Nikon Digital SLRs and AF film SLRs such as the F6, F100, F5, N80 and N75. On the N90s, N70 and F4 you won’t have VR, Aperture Priority or Manual exposure modes.
Construction 8 elements in 6 groups, including hybrid aspherical element. Rear focusing. Polycarbonate outer and inner barrel, metal mount, rear gasket.
Country of Origin China.
Coverage DX (APS-C).
Diaphragm 7 curved blades. Stops down to f/22
Distortion Considerable, but corrected in-camera for JPEGS, and can be corrected easily during post-processing.
FX Performance When used on an FX camera, the image circle does not quite make it to the corners, resulting in severe vignetting. However, this can create a pleasing “Holga Dark Corner” effect at larger apertures and when cropped square. At larger apertures, the frame can be cropped smaller resulting in the equivalent of a 40mm lens.
Extension Tubes Because of its faster aperture, this lens works well with extension tubes in autofocus mode.
Falloff Negligible. On FX cameras, creates a pleasing, Holga-like “Dark Corner” effect.
Filter Thread Plastic, 52mm. Does not rotate with focus ring, so it works well with polarizers.
Ghosts and Flares Very well controlled, making a lens hood largely unnecessary, except for protection or “coolness factor”.
Included Standard center-pinch front lens cap, LF-1 rear cap, HB-46 reversible circular plastic lens hood, CL-0913 pouch.
Lateral Color Fringes None when used with cameras that correct for this. Visible on the D40.
Macro The minimum focus of 12" is better than average, but not as good as others. Works well with closeup lenses and extension tubes. May be reversed with the use of the Nikon BR-2A Reversing Ring and Nikon BR-6 Auto Diaphragm Ring used with a cable release for stepless aperture adjustment.
Manual Focus No focus scale or hard stop at infinity, making this lens a poor candidate for manual focus photography. Manual override at all times in AF mode. Focus ring is smooth, but has a mechanical feel and slight play making it a challenge to rock back and forth for precise focusing. It is not fluid like a dedicated manual focus lens.
Maximum Reproduction Ratio 1:6.1 (0.16x)
RoHS Compliance 10 years.
Sharpness The edge sharpness of this lens is greatest at f/2.8, with the center peaking at f/4, and nearly identical at f/5.6. At f/1.8, the border sharpness drops off to only “good/very good” levels. So, you really can’t go wrong from wide open to f/5.6, but for the sharpest images, work from f/2.8 to f/5.6.
Spherochromatism Slight at f/1.8, with green fringing in the background and magenta in the foreground.
Sunstars Soft, 14-pointed, becoming sharper with underexposure.
Teleconverters Because of its faster aperture, this lens works well with teleconverters in autofocus mode.
Versatility Great for portrait and close-up, handheld night photography and light macro work with closeup lenses, extension tubes or reversing rings. Not the best choice for infrared due to the lack of a focus scale, but will autofocus with variable results.
Vibration Reduction None. Due to its fast aperture, VR is largely unnecessary.
The Bottom Line
Shooting with the AF-S 35mm is an exercise in nostalgia. It takes me back to my SLR roots, yet brings them up-to-date. It exposes new photographers to tradition and best practices, making every camera a lightweight, low-light performer.
The surprise is how well it performs on full-frame body in FX mode. With minor cropping, it can produce images equivalent to a “very normal” 43mm lens, and with square cropping simulate a Holga image with its signature “dark corner” characteristic. I highly recommend this lens for any photographer using an APS-C or full-frame Nikon.
Originally published on 8/26/2013, this is an update to a previous review.
Color Rendition Typical of most NIKKOR AF-S lenses.
Compatibility Works with Nikon Digital SLRs and AF film SLRs such as the F6, F100, F5, N80 and N75. On the N90s, N70 and F4 you won’t have VR, Aperture Priority or Manual exposure modes.
Construction 8 elements in 6 groups, including hybrid aspherical element. Rear focusing. Polycarbonate outer and inner barrel, metal mount, rear gasket.
Country of Origin China.
Coverage DX (APS-C).
Diaphragm 7 curved blades. Stops down to f/22
Distortion Considerable, but corrected in-camera for JPEGS, and can be corrected easily during post-processing.
FX Performance When used on an FX camera, the image circle does not quite make it to the corners, resulting in severe vignetting. However, this can create a pleasing “Holga Dark Corner” effect at larger apertures and when cropped square. At larger apertures, the frame can be cropped smaller resulting in the equivalent of a 40mm lens.
Extension Tubes Because of its faster aperture, this lens works well with extension tubes in autofocus mode.
Falloff Negligible. On FX cameras, creates a pleasing, Holga-like “Dark Corner” effect.
Filter Thread Plastic, 52mm. Does not rotate with focus ring, so it works well with polarizers.
Ghosts and Flares Very well controlled, making a lens hood largely unnecessary, except for protection or “coolness factor”.
Included Standard center-pinch front lens cap, LF-1 rear cap, HB-46 reversible circular plastic lens hood, CL-0913 pouch.
Lateral Color Fringes None when used with cameras that correct for this. Visible on the D40.
Macro The minimum focus of 12" is better than average, but not as good as others. Works well with closeup lenses and extension tubes. May be reversed with the use of the Nikon BR-2A Reversing Ring and Nikon BR-6 Auto Diaphragm Ring used with a cable release for stepless aperture adjustment.
Manual Focus No focus scale or hard stop at infinity, making this lens a poor candidate for manual focus photography. Manual override at all times in AF mode. Focus ring is smooth, but has a mechanical feel and slight play making it a challenge to rock back and forth for precise focusing. It is not fluid like a dedicated manual focus lens.
Maximum Reproduction Ratio 1:6.1 (0.16x)
RoHS Compliance 10 years.
Sharpness The edge sharpness of this lens is greatest at f/2.8, with the center peaking at f/4, and nearly identical at f/5.6. At f/1.8, the border sharpness drops off to only “good/very good” levels. So, you really can’t go wrong from wide open to f/5.6, but for the sharpest images, work from f/2.8 to f/5.6.
Spherochromatism Slight at f/1.8, with green fringing in the background and magenta in the foreground.
Sunstars Soft, 14-pointed, becoming sharper with underexposure.
Teleconverters Because of its faster aperture, this lens works well with teleconverters in autofocus mode.
Versatility Great for portrait and close-up, handheld night photography and light macro work with closeup lenses, extension tubes or reversing rings. Not the best choice for infrared due to the lack of a focus scale, but will autofocus with variable results.
Vibration Reduction None. Due to its fast aperture, VR is largely unnecessary.
Vignetting No vignetting problems even with one or more thick filters. When used with a polarizer, use of the Hoya Screw-In Rubber Zoom Lens Hood does not cause vignetting.
Build Quality ★★★★
Optical Quality ★★★★★
Value ★★★★★The Bottom Line
Shooting with the AF-S 35mm is an exercise in nostalgia. It takes me back to my SLR roots, yet brings them up-to-date. It exposes new photographers to tradition and best practices, making every camera a lightweight, low-light performer.
The surprise is how well it performs on full-frame body in FX mode. With minor cropping, it can produce images equivalent to a “very normal” 43mm lens, and with square cropping simulate a Holga image with its signature “dark corner” characteristic. I highly recommend this lens for any photographer using an APS-C or full-frame Nikon.
Originally published on 8/26/2013, this is an update to a previous review.
Review: AF-S DX Nikkor 18-55mm f/3.5-5.6G
I poo-pooed this lens until my partner got hers, bundled with her new D3100. Since then I’ve been kicking myself for not buying my D-90 body with its kit lens.
It’s quirky, it’s chintzy it’s…really sharp. It’s fun to put a lens on your camera that performs well and is so compact and inexpensive. At 9.4 oz (266g) it’s about the same weight as my Nikkor 20mm f/2.8, yet zooms up to 82.5mm (equivalent) and has VR and a built-in motor. How’d they do that for under two bills?
Plastic mount, that’s how. The dreaded plastic mount. To be fair though, it’s a hard phenolic plastic that’s sure to wear well, especially if a little lubrication is applied from time to time. These plastics tend to be brittle though, so don’t bump the lens in sub-zero weather, and you should be fine.
I wouldn’t shoot a wedding with it, but I wouldn’t hesitate to put in in my camera bag for long trips. It’s a great backup lens you can feel good about having with you at all times.
It’s quirky, it’s chintzy it’s…really sharp. It’s fun to put a lens on your camera that performs well and is so compact and inexpensive. At 9.4 oz (266g) it’s about the same weight as my Nikkor 20mm f/2.8, yet zooms up to 82.5mm (equivalent) and has VR and a built-in motor. How’d they do that for under two bills?
Plastic mount, that’s how. The dreaded plastic mount. To be fair though, it’s a hard phenolic plastic that’s sure to wear well, especially if a little lubrication is applied from time to time. These plastics tend to be brittle though, so don’t bump the lens in sub-zero weather, and you should be fine.
I wouldn’t shoot a wedding with it, but I wouldn’t hesitate to put in in my camera bag for long trips. It’s a great backup lens you can feel good about having with you at all times.
Build Quality ★★★
With a plastic mount, there’s no question this is budget lens. But the fit and finish are on a par with Nikon’s pros-sumer line. Considering the price and performance, there are no complains here.
Focus ★★★
As AF-S NIKKORs go, this is the least manual focus-friendly lens. The plastic focus ring is attached to the rotating front barrel of the lens, requiring you to reach forward to focus. With only about an eighth of a turn lock-to-lock, fine adjustment is challenging. However, auto focus is silent, accurate, and a joy to use. The ability to focus closely at maximum zoom is a welcome surprise, giving this lens’ quasi-macro capability.
Optical Quality ★★★★★
Really quite impressive for its cost and feature set. Center resolution is excellent across the board, peaking at f/5.6, while edge resolution tapers off from very good to fair/good levels at f/3.5. Above 35mm, resolution drops somewhat, but center and edge are neck and neck from f/8 upwards. Shoot at f/5.6-11 and you’ll always be pleased with the results.
Value ★★★★★
Low price and high performance equate to an excellent value.
Versatility ★★★★★
A great walk-around lens if you don’t need low-light capability. Close (.9 ft.) focus capability across the zoom range make it very macro-friendly.
Diaphragm
7 curved blades.
Filters
Accepts 52mm filters with a plastic thread. The threads rotate with the front barrel during focusing, making working with a polarizer or Cokin filters more challenging.
Hood
Optional HB-45 Clip-on Hood available, but not included. The Hoya 52mm Screw-In Rubber Zoom Lens Hood also works well. Fully retracted this hood does not vignette at 18mm (28mm); at 24mm (36mm) the middle extension can be used, and from 35mm on (52.5mm) the hood can be used in its fully extended position.
Included Accessories
Standard front pinch cap and “budget” translucent rear cap.
Specifications
Sunday, August 25, 2013
Untermeyer Gardens, Yonkers
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| View from the south entrance. |
Review: Tiffen Low Light Polarizer (rotating)
It may seem overkill to write a review on a filter, but the bottom line is, there doesn’t seem to be much valuable information out there concerning these rather expensive accessories. So, today I am reviewing the Tiffen Low Light Polarizer.
Saturday, August 24, 2013
Review: Kodak Ektar 100 Film
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| Kodak Professional Ektar 100 Film |
Friday, August 23, 2013
The Realities of Black and White Photography
Photography got its start in the Black and White domain, and it continues today as an important movement in the art. It is often highly regarded, commanding a greater deal of respect than color photography.
Thursday, August 22, 2013
Review: Nikon F3
As I have chosen Nikon as my primary camera “platform”, it only makes sense to have some film bodies to use with my growing collection of F-Mount lenses. While my N80 is a great film body, it doesn’t meter with non-chipped, manual focus lenses. And shooting with it is more like shooting with a full-frame digital than with a traditional manual-focus film body. So when a pre-owned F3HP came my way, I welcomed the opportunity to add it to my trove of working collectibles.
Shooting with the F3 feels like shooting film. Its size, weight and form factor contribute greatly to this, but its high-eye point viewfinder with split-image/microprism focusing screen provides an experience unlike that of today’s digital autofocus bodies. While you can add aftermarket manual focusing screens to many current cameras, nothing does honor to manual focus like a classic manual-focus body.
The F3 puts you more in touch with your film roots. This is mostly due to how if feels in the hand, and the solidness of the controls. New to this generation of SLRs is the provision of an integral “grip” which greatly helps you to deal with the heft of the camera, but does not feel like the motor-drive like grips of the DSLRs.
Every camera has something it does particularly well, and in the case of the F3, it’s long exposure. The metering system has a wide range, and the electronic shutter a “T” mode in addition to the traditional “B” (Bulb) mode. This allows you to trip the shutter, and keep it open without consuming battery power, until the shutter speed dial is moved to a different position. Manually, the shutter speed can be set up to 8 seconds, but in Aperture Priority Auto, the F3 will calculate an exposure out to about 30 seconds, comparable with today’s DSLRs.
Overall Design
Except for the grip the F3 has a fairly classic SLR form factor, at least for Nikons, which are characteristically asymmetrical. The grip or “take-up” side of Nikons tends to be a little longer than the left side. This has trickled down to their DSLRs as well, and is now a characteristic shared by most digital cameras in general.
However, this is the first generation of Nikons to be designed by Giorgetto Guigaro, and so has a few new styling cues making a departure from some of those of the past.
The first of these is the classic red stripe, which survives today in the Cosina-built FM10. The stripe is part of the grip, which has become the norm in this new generation of cameras. It appears as a slight protrusion to the right side of the body, that helps to ease the pressure of one’s grip when supporting the substantial heft of the camera.
The next is the elimination of that classic lever on the front of the body to the right of the lens. Traditionally, this lever has been used for the self-timer, depth of field preview and/or mirror lockup (in the case of the original Canon F-1, all three!) But in an electronic-shutter camera such as the F3, it’s no longer necessary. In its place, closer to the lens, is a button/lever combo serving as the AE/Lock and mechanical shutter release backup. The latter is a significant feature, because in this new age of electronic shutters, reliability was questioned, so a mechanical backup was a necessary competitive feature. As it turned out, the efficiency and wide availability of batteries for the F3 assured its success. The self-timer switch has been moved to the top deck of the camera, concentric with the shutter speed dial, and the shutter release, rewind lever and power switch have been combined into a single assembly. The elegantly simple depth of preview/mirror lock up lever from the F2 is retained.
Otherwise, the F3 is very much a traditional manual-focus SLR, albeit a transitional one. The next, the F4, will be very different. A ground-breaking Auto-focus camera with a greatly different form factor that would become the paradigm of the modern DSLR.
Operation
The operation of the F3 is silky smooth, yet solid. It has a most gratifying shutter click and mirror slap, but the film advance really sets it apart. All those ball bearings make it hard to make out that there’s actually film in the camera. Setting the aperture with your left hand and the shutter speed with your right index finger is quite easy easy. Adjusting the exposure compensation a little tricky with the left hand only, but certainly easy enough with both. But what is very difficult is turning the camera on and off with the shutter-release concentric power switch. It’s extremely tight, and although fairly easy to turn off, very difficult to turn on. Fortunately, you can leave it on indefinitely, as power is not drawn until the shutter release is pressed halfway to activate the meter. This is my only real complaint about the camera. The self-timer switch is equally difficult, but used much less often and so less significant.
The F3 has an interesting little quirk. At first, it may seem to have an intermittent problem with metering. When you first load it with film, or just after the camera back has been opened, the -+ sign does not appear in the finder’s LCD in manual mode, and auto exposure doesn’t work in Aperture mode. Until you fire off three shots and move the film advance lever for the third time, metering does not become available. This is to prevent you from shooting on the leader and possibly encountering flares from light leaks. It’s one of the first signs of camera automation logic!
The viewfinder is amongst the best I’ve ever used. The ground-breaking use of an LCD for shutter speed and over/under exposure readout instead of LEDs extends battery life significantly (although I’ll take a good ol’ match-needle finder any day). In conjunction with the optical ADR (aperture direct readout, which consumes no power and adds no mechanics) it provides a full-information finder display.
My two chipped, manual focus Voigtländers work great with the F3. My two non-chipped Samyangs are also quite usable. The Samyang/ProOptic 8mm f/3.5 fisheye meters perfectly, although it’s designed for the APS-C format, and therefore its built-in, non-removeable shade crops the frame a little smaller. The Samyang/Phoenix 500mm f/8.0 also meters properly.
Necessories
Like many professional cameras with swappable finders, the F3 has no flash shoe. Instead, there’s a proprietary flash connector built into the rewind crank/iso/exposure compensation dial. This requires one of the following adapters:
AS-4 is the standard adapter that provides a non-TTL hot shoe. Any flash that can function in “Auto Aperture” mode can be used with this setup. The adapter must be removed to access the rewind crank.
AS-17 is a TTL adapter, which allows you to use the Through-the-Lens metering capability of the F3.
And if you have a dedicated F3 flash, the AS-6 is what you need to convert it for use with a standard hot shoe.
Off camera flash
Of course, it’s always possible to use non-TTL off-camera flash using a PC cord and a flash bracket. For TTL off-camera flash, you could use the AS-17 in conjunction with the SC-28 or SC-29 flash cord.
Eyepiece
My F3 came with a 0.5 diopter eyepiece, which I cannot use. If yours is missing, you can order The Nikon DK-17, which is a 22mm, rubber-covered ring with a multicoated neutral optic. You can then add the DK-19 eyecup to this if you need to. These parts are still current and available through B&H Photo/Video.
A Little History
At the time this camera was produced, the 1971 Canon F-1 was the current professional model; a manual, match-needle camera with an add-on finder (Servo EE Finder) which provided shutter-priority auto exposure. Two years prior to the F3, Canon introduced the A-1, a semi-professional model quite comparable to the F3, but without swappable finders and a fabric curtain shutter with a one-stop slower maximum speed. However, it was an industry first with all four shooting modes, Program, Aperture Priority, Shutter Priority and Manual. The year after the introduction of the F3, Canon introduced the New F1, an updated version of the 1971 version, still manual exposure, with an available AE Finder FN which would provide Aperture-Priority AE. It wouldn’t be until 1983 that Nikon would introduce a camera fully comparable to the 1978 Canon A-1, but which improves upon it with a much more user friendly interface compared to the confusing A-1.
There were six distinct variants of the F3; the original F3; the popular F3HP with its high-eyepoint viewfinder; The F3/T, a natural-finish titanium version of the F3HP; The F3H, a high-speed pellicle-mirror model capable of up to 13fp; The F3P, with additional weather sealing for press applications; and finally the F3AF, Nikon’s first autofocus SLR.
In 1991, the F3 was the basis of the world’s first 1.3MP digital SLR, produced by Kodak as the DCS 100.
Shooting with the F3 feels like shooting film. Its size, weight and form factor contribute greatly to this, but its high-eye point viewfinder with split-image/microprism focusing screen provides an experience unlike that of today’s digital autofocus bodies. While you can add aftermarket manual focusing screens to many current cameras, nothing does honor to manual focus like a classic manual-focus body.
The F3 puts you more in touch with your film roots. This is mostly due to how if feels in the hand, and the solidness of the controls. New to this generation of SLRs is the provision of an integral “grip” which greatly helps you to deal with the heft of the camera, but does not feel like the motor-drive like grips of the DSLRs.
Every camera has something it does particularly well, and in the case of the F3, it’s long exposure. The metering system has a wide range, and the electronic shutter a “T” mode in addition to the traditional “B” (Bulb) mode. This allows you to trip the shutter, and keep it open without consuming battery power, until the shutter speed dial is moved to a different position. Manually, the shutter speed can be set up to 8 seconds, but in Aperture Priority Auto, the F3 will calculate an exposure out to about 30 seconds, comparable with today’s DSLRs.
Overall Design
Except for the grip the F3 has a fairly classic SLR form factor, at least for Nikons, which are characteristically asymmetrical. The grip or “take-up” side of Nikons tends to be a little longer than the left side. This has trickled down to their DSLRs as well, and is now a characteristic shared by most digital cameras in general.
However, this is the first generation of Nikons to be designed by Giorgetto Guigaro, and so has a few new styling cues making a departure from some of those of the past.
The first of these is the classic red stripe, which survives today in the Cosina-built FM10. The stripe is part of the grip, which has become the norm in this new generation of cameras. It appears as a slight protrusion to the right side of the body, that helps to ease the pressure of one’s grip when supporting the substantial heft of the camera.
The next is the elimination of that classic lever on the front of the body to the right of the lens. Traditionally, this lever has been used for the self-timer, depth of field preview and/or mirror lockup (in the case of the original Canon F-1, all three!) But in an electronic-shutter camera such as the F3, it’s no longer necessary. In its place, closer to the lens, is a button/lever combo serving as the AE/Lock and mechanical shutter release backup. The latter is a significant feature, because in this new age of electronic shutters, reliability was questioned, so a mechanical backup was a necessary competitive feature. As it turned out, the efficiency and wide availability of batteries for the F3 assured its success. The self-timer switch has been moved to the top deck of the camera, concentric with the shutter speed dial, and the shutter release, rewind lever and power switch have been combined into a single assembly. The elegantly simple depth of preview/mirror lock up lever from the F2 is retained.
Otherwise, the F3 is very much a traditional manual-focus SLR, albeit a transitional one. The next, the F4, will be very different. A ground-breaking Auto-focus camera with a greatly different form factor that would become the paradigm of the modern DSLR.
Operation
The operation of the F3 is silky smooth, yet solid. It has a most gratifying shutter click and mirror slap, but the film advance really sets it apart. All those ball bearings make it hard to make out that there’s actually film in the camera. Setting the aperture with your left hand and the shutter speed with your right index finger is quite easy easy. Adjusting the exposure compensation a little tricky with the left hand only, but certainly easy enough with both. But what is very difficult is turning the camera on and off with the shutter-release concentric power switch. It’s extremely tight, and although fairly easy to turn off, very difficult to turn on. Fortunately, you can leave it on indefinitely, as power is not drawn until the shutter release is pressed halfway to activate the meter. This is my only real complaint about the camera. The self-timer switch is equally difficult, but used much less often and so less significant.
The F3 has an interesting little quirk. At first, it may seem to have an intermittent problem with metering. When you first load it with film, or just after the camera back has been opened, the -+ sign does not appear in the finder’s LCD in manual mode, and auto exposure doesn’t work in Aperture mode. Until you fire off three shots and move the film advance lever for the third time, metering does not become available. This is to prevent you from shooting on the leader and possibly encountering flares from light leaks. It’s one of the first signs of camera automation logic!
The viewfinder is amongst the best I’ve ever used. The ground-breaking use of an LCD for shutter speed and over/under exposure readout instead of LEDs extends battery life significantly (although I’ll take a good ol’ match-needle finder any day). In conjunction with the optical ADR (aperture direct readout, which consumes no power and adds no mechanics) it provides a full-information finder display.
My two chipped, manual focus Voigtländers work great with the F3. My two non-chipped Samyangs are also quite usable. The Samyang/ProOptic 8mm f/3.5 fisheye meters perfectly, although it’s designed for the APS-C format, and therefore its built-in, non-removeable shade crops the frame a little smaller. The Samyang/Phoenix 500mm f/8.0 also meters properly.
Necessories
Like many professional cameras with swappable finders, the F3 has no flash shoe. Instead, there’s a proprietary flash connector built into the rewind crank/iso/exposure compensation dial. This requires one of the following adapters:
AS-4 is the standard adapter that provides a non-TTL hot shoe. Any flash that can function in “Auto Aperture” mode can be used with this setup. The adapter must be removed to access the rewind crank.
AS-17 is a TTL adapter, which allows you to use the Through-the-Lens metering capability of the F3.
And if you have a dedicated F3 flash, the AS-6 is what you need to convert it for use with a standard hot shoe.
Off camera flash
Of course, it’s always possible to use non-TTL off-camera flash using a PC cord and a flash bracket. For TTL off-camera flash, you could use the AS-17 in conjunction with the SC-28 or SC-29 flash cord.
Eyepiece
My F3 came with a 0.5 diopter eyepiece, which I cannot use. If yours is missing, you can order The Nikon DK-17, which is a 22mm, rubber-covered ring with a multicoated neutral optic. You can then add the DK-19 eyecup to this if you need to. These parts are still current and available through B&H Photo/Video.
A Little History
At the time this camera was produced, the 1971 Canon F-1 was the current professional model; a manual, match-needle camera with an add-on finder (Servo EE Finder) which provided shutter-priority auto exposure. Two years prior to the F3, Canon introduced the A-1, a semi-professional model quite comparable to the F3, but without swappable finders and a fabric curtain shutter with a one-stop slower maximum speed. However, it was an industry first with all four shooting modes, Program, Aperture Priority, Shutter Priority and Manual. The year after the introduction of the F3, Canon introduced the New F1, an updated version of the 1971 version, still manual exposure, with an available AE Finder FN which would provide Aperture-Priority AE. It wouldn’t be until 1983 that Nikon would introduce a camera fully comparable to the 1978 Canon A-1, but which improves upon it with a much more user friendly interface compared to the confusing A-1.
There were six distinct variants of the F3; the original F3; the popular F3HP with its high-eyepoint viewfinder; The F3/T, a natural-finish titanium version of the F3HP; The F3H, a high-speed pellicle-mirror model capable of up to 13fp; The F3P, with additional weather sealing for press applications; and finally the F3AF, Nikon’s first autofocus SLR.
In 1991, the F3 was the basis of the world’s first 1.3MP digital SLR, produced by Kodak as the DCS 100.
Wednesday, August 21, 2013
Dodging and Burning
This is a traditional darkroom technique used to selectively lighten and darken areas of a photograph during the enlarging process. A mask in the shape of the area to be lightened is attached to a thin wire and held in position just above the photo paper in the enlarger, so that it shadow prevents exposure. Slight movement softens the edge and prevents the wire from adversely affecting the expsoure. This is known as “dodging”. Burning is the opposite effect, in which the area to be darkened is cut out of a larger paper mask to prevent exposure to other areas.
In digital retouching we use this effect on a daily basis to control local contrast so as to extend the apparent dynamic range of the photo. It’s a relatively simple process of selecting part of the image and applying an adjustment to alter its luminosity value. However for finer control, we can create adjustment layers that we can use to “brush in” the effect.
The many adjustment tools and blend modes in Photoshop can be used in many combinations to achieve advanced effects. For this tutorial however, we are going to concentrate on three techniques using The Overlay, Multiply and Screen modes.
Creating a Dodge & Burn Layer
For subtle adjustments, nondestructive dodging and burning can be performed in a single layer. For a more pronounced effect and to gain more control over color, we can use a separate layer each for dodging and burning as explained below.
1. From the menu bar, select Layer > New > Layer… or press Command + Shift + N.
2. In New Layer dialog, select Overlay from the mode menu and check the “Fill with Overlay-neutral color (50% gray)” box. Rename this layer “Dodge & Burn” if desired. Click OK.
3. Press D to set the background colors to their default black and white.
4. Press B to switch to the Brush tool.
5. In the Brush Options bar, set the opacity and flow to a low value, such as 10%.
6. Select an appropriate brush size and hardness.
7. Begin brushing in the document window to darken areas which are too light using black. To lighten dark areas, press X to exchange foreground and background colors in order to use white.
How it works
When the Overlay mode is applied to a layer, values in that layer that are lighter than 50% gray lighten the pixels of the layers beneath, while values which are darker than 50% gray darken them. This is also true of the Soft Light, Hard Light, Vivid Light, Linear Light and Hard Mix modes, which can also be used to achieve varying effects.
Creating a Burn Layer
When a stronger effect needs to be applied, and/or more control over color is desired, a separate burn layer can be created using the Multiply Mode.
1. From the menu bar, select Layer > New Adjustment Layer > Hue/Saturation…
2. In the New Layer dialog, select Multiply from the Mode menu; rename the layer “Burn” if desired.
3. With the layer still selected, fill the layer mask with black by selecting Edit > Fill… from the menu bar and select Black from the Use menu.
4. Press D to set the background colors to their default black and white.
5. Press B to switch to the Brush tool.
6. In the Brush Options bar, set the opacity and flow to a low value, such as 10%.
7. Select an appropriate brush size and hardness.
8. Begin brushing in the document window to darken areas which are too light using white. White is painted into the layer mask, revealing the effect of the Multiply blend mode.
9. To undo the effect, press X to switch to the background color (black) which then hides the effect of the Multiply mode.
10. To vary the overall intensity of the effect, adjust the layer’s Opacity slider
10. To vary the overall hue and saturation of the effect, adjust the respective sliders in the Hue/Saturation panel.
11. To darken the effect starting from the highlights, drag the Lightness slider to the left.
12. To lighten the effect starting from the shadows, drag the Lightness slider to the right.
How it Works
When the Multiply mode is applied to a layer, values in that layer darken those in the layers beneath, with the effect becoming progressively stronger as the tones become darker. This has the effect of darkening the image while adding contrast. Applying this mode to a non-modified adjustment layer is the same as duplicating the pixel layer itself, but takes up far less disk space. By using a Hue/Saturation layer, we have subtle control over the hue, saturation, shadows and highlights of the effect.
Creating a Dodge Layer
When a stronger effect needs to be applied, and/or more control over color is desired, a separate dodge layer can be created using the Screen Mode.
1. From the menu bar, select Layer > New Adjustment Layer > Hue/Saturation…
2. In the New Layer dialog, select Screen from the Mode menu; rename the layer “Dodge” if desired.
3. With the layer still selected, fill the layer mask with black by selecting Edit > Fill… from the menu bar and select Black from the Use menu.
4. Press D to set the background colors to their default black and white.
5. Press B to switch to the Brush tool.
6. In the Brush Options bar, set the opacity and flow to a low value, such as 10%.
7. Select an appropriate brush size and hardness.
8. Begin brushing in the document window to lighten areas which are too dark using white. White is painted into the layer mask, revealing the effect of the Screen blend mode.
9. To undo the effect, press X to switch to the background color (black) which then hides the effect of the Screen mode.
10. To vary the overall intensity of the effect, adjust the layer’s Opacity slider
10. To vary the overall hue and saturation of the effect, adjust the respective sliders in the Hue/Saturation panel.
11. To darken the effect starting from the highlights, drag the Lightness slider to the left.
12. To lighten the effect starting from the shadows, drag the Lightness slider to the right.
How it Works
When the Screen mode is applied to a layer, values in that layer lighten those in the layers beneath, with the effect becoming progressively stronger as the tones become darker. This has the effect of lightening the image while reducing contrast. Applying this mode to a non-modified adjustment layer is the same as duplicating the pixel layer itself, but takes up far less disk space. By using a Hue/Saturation layer, we have subtle control over the hue, saturation, shadows and highlights of the effect.
In digital retouching we use this effect on a daily basis to control local contrast so as to extend the apparent dynamic range of the photo. It’s a relatively simple process of selecting part of the image and applying an adjustment to alter its luminosity value. However for finer control, we can create adjustment layers that we can use to “brush in” the effect.
The many adjustment tools and blend modes in Photoshop can be used in many combinations to achieve advanced effects. For this tutorial however, we are going to concentrate on three techniques using The Overlay, Multiply and Screen modes.
Creating a Dodge & Burn Layer
For subtle adjustments, nondestructive dodging and burning can be performed in a single layer. For a more pronounced effect and to gain more control over color, we can use a separate layer each for dodging and burning as explained below.
1. From the menu bar, select Layer > New > Layer… or press Command + Shift + N.
2. In New Layer dialog, select Overlay from the mode menu and check the “Fill with Overlay-neutral color (50% gray)” box. Rename this layer “Dodge & Burn” if desired. Click OK.
3. Press D to set the background colors to their default black and white.
4. Press B to switch to the Brush tool.
5. In the Brush Options bar, set the opacity and flow to a low value, such as 10%.
6. Select an appropriate brush size and hardness.
7. Begin brushing in the document window to darken areas which are too light using black. To lighten dark areas, press X to exchange foreground and background colors in order to use white.
How it works
When the Overlay mode is applied to a layer, values in that layer that are lighter than 50% gray lighten the pixels of the layers beneath, while values which are darker than 50% gray darken them. This is also true of the Soft Light, Hard Light, Vivid Light, Linear Light and Hard Mix modes, which can also be used to achieve varying effects.
Creating a Burn Layer
When a stronger effect needs to be applied, and/or more control over color is desired, a separate burn layer can be created using the Multiply Mode.
1. From the menu bar, select Layer > New Adjustment Layer > Hue/Saturation…
2. In the New Layer dialog, select Multiply from the Mode menu; rename the layer “Burn” if desired.
3. With the layer still selected, fill the layer mask with black by selecting Edit > Fill… from the menu bar and select Black from the Use menu.
4. Press D to set the background colors to their default black and white.
5. Press B to switch to the Brush tool.
6. In the Brush Options bar, set the opacity and flow to a low value, such as 10%.
7. Select an appropriate brush size and hardness.
8. Begin brushing in the document window to darken areas which are too light using white. White is painted into the layer mask, revealing the effect of the Multiply blend mode.
9. To undo the effect, press X to switch to the background color (black) which then hides the effect of the Multiply mode.
10. To vary the overall intensity of the effect, adjust the layer’s Opacity slider
10. To vary the overall hue and saturation of the effect, adjust the respective sliders in the Hue/Saturation panel.
11. To darken the effect starting from the highlights, drag the Lightness slider to the left.
12. To lighten the effect starting from the shadows, drag the Lightness slider to the right.
How it Works
When the Multiply mode is applied to a layer, values in that layer darken those in the layers beneath, with the effect becoming progressively stronger as the tones become darker. This has the effect of darkening the image while adding contrast. Applying this mode to a non-modified adjustment layer is the same as duplicating the pixel layer itself, but takes up far less disk space. By using a Hue/Saturation layer, we have subtle control over the hue, saturation, shadows and highlights of the effect.
Creating a Dodge Layer
When a stronger effect needs to be applied, and/or more control over color is desired, a separate dodge layer can be created using the Screen Mode.
1. From the menu bar, select Layer > New Adjustment Layer > Hue/Saturation…
2. In the New Layer dialog, select Screen from the Mode menu; rename the layer “Dodge” if desired.
3. With the layer still selected, fill the layer mask with black by selecting Edit > Fill… from the menu bar and select Black from the Use menu.
4. Press D to set the background colors to their default black and white.
5. Press B to switch to the Brush tool.
6. In the Brush Options bar, set the opacity and flow to a low value, such as 10%.
7. Select an appropriate brush size and hardness.
8. Begin brushing in the document window to lighten areas which are too dark using white. White is painted into the layer mask, revealing the effect of the Screen blend mode.
9. To undo the effect, press X to switch to the background color (black) which then hides the effect of the Screen mode.
10. To vary the overall intensity of the effect, adjust the layer’s Opacity slider
10. To vary the overall hue and saturation of the effect, adjust the respective sliders in the Hue/Saturation panel.
11. To darken the effect starting from the highlights, drag the Lightness slider to the left.
12. To lighten the effect starting from the shadows, drag the Lightness slider to the right.
How it Works
When the Screen mode is applied to a layer, values in that layer lighten those in the layers beneath, with the effect becoming progressively stronger as the tones become darker. This has the effect of lightening the image while reducing contrast. Applying this mode to a non-modified adjustment layer is the same as duplicating the pixel layer itself, but takes up far less disk space. By using a Hue/Saturation layer, we have subtle control over the hue, saturation, shadows and highlights of the effect.
Saturday, August 10, 2013
In Search of the Perfect Curve
Once again I am revisiting post-pro lomography. I will stop using film when they pry it from my cold dead hands. But the reality is, it’s only going to be harder to come by. So even more reason to perfect the ability to achieve similar results in the digital domain.
Thursday, August 8, 2013
Tuesday, August 6, 2013
Rollin’ Some Redscale...
I’m going through another film phase it seems. It was probably spawned by the recent news that Kodak will be emerging from bankruptcy protection in September as only a fraction of its former self, sans its film and paper division. So, get your Kodak film that’s actually made by Kodak while supplies last.
Speaking of film, I found two rolls of very expired Kodak Gold 400, which is perfect for making redscale film. So, I decided to respool them using my favorite technique.
Speaking of film, I found two rolls of very expired Kodak Gold 400, which is perfect for making redscale film. So, I decided to respool them using my favorite technique.
Sunday, July 28, 2013
Écorce D’Arbre Lumineux
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| iPhone 4S; 1/120 @ f/2.4, ISO 64. |
Wednesday, July 10, 2013
First Impressions: Kodak Signet 35
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| 1950’s Kodak Signet 35 Rangefinder |
Sunday, July 7, 2013
A Lone Wild Strawberry
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| Wild Strawberry, approximately1/4" in diameter. Nikon D90, AF NIKKOR 20mm f/2.8, Nikon BR-2A Macro Reversing Ring. |
Bullseye! Results of the First Brownie Bull’s-Eye Test
Got my pics back yesterday, and was somewhat pleased and confused all at the same time.
Saturday, July 6, 2013
Bye-bye, Walgreens
I discovered that there’s a Walgreens en route to my daily work commute, so I decided to stop in. Turns out they do one-hour C-41 film processing right on the premises, just like most Walgreens locations. So, I wanted to compare them to other labs I've used to see if their photo discs are burned at the same image resolution.
Friday, July 5, 2013
Monday, July 1, 2013
New Addition: Polaroid Colorpack II
On the way back from my usual Sunday morning walk, I stopped off at a yard sale and scored a new Polaroid to add to my growing collection.
Being that pack film is still available, this was an exciting find, and a bargain at five bucks. I’ll probably order some film and shoot with it just to say I did.
I was quite a fan of Polaroid back in the day when I would use type 55 4x5 film with my 645 back in a home-made pinhole camera. The cool thing was, I could swap it out for a 4x5 film magazine loaded with negative film or paper. Sadly, those days are over. Or are they?
It occurs to me that I could cannibalize the Colorpack II and convert it into a pack-based pinhole camera. But that would be a shame to do to a working camera. Then another thought; an NPC 35mm Polaroid back.
There are quite a few of these out there, and because they use only a fraction of the 3-1/4"x 4-1/4" image area, they don’t command a particularly high price in the market. I could easily modify one and build a pinhole camera around it.
Another approach would be the Pinholgaroid. The Polaroid back for the Holga does not yield a full-frame exposure, a waste in my opinion. But, the back and the camera can be easily modified in such a way to make that so. And since a Pinhole Holga is only about fifteen bucks, gutting it won’t be too painful.
Friday, June 28, 2013
Farewell, CVS...
A quick stop at my neighborhood CVS for a watch battery revealed a simple truth; if you can’t do it right, you shouldn’t do it at all.
Now This is Cool: Gizmon iPhone Case
It wasn’t too long ago that I said to myself, “someone should make a really cool case for the iPhone that makes it look like a camera.” Then I saw a few efforts, but they fell painfully short of my expectations. And last night, I came across this...
…The Gizmo iPhone case for the 4, 4S, or 5. This is pretty much exactly the case I would have designed myself.
Does it create better pictures? Probably not, although it does have a working viewfinder and attachable tripod socket. Is it going to make you more popular? Definitely. You go walking around with one of these strapped around your neck, and you’re sure to attract aspiring photogs and curious onlookers in droves.
If it were purely decorative, I could see not taking it seriously, but the fact that it actually solves three problems (optical viewfinder, tripod socket, and camera strap) and is going make you the center of attention wherever you go makes it hard to resist. The fact that it’s an homage to Leica speaks volumes. I would have ordered mine already, except that I can’t make up my mind as to which I want, the silver and white, black, or brown, or the all black.
What exactly is it?
It’s a multi-piece case that slips over the top and bottom of your phone. Then you add the lens base and faux lens of your choice (it comes with two) to hold the two halves together. Then, you snap on the top deck, and you’ve got yourself what every mobile-phone camera lacks; and optical viewfinder. The optional tripod adapter also comes with it, and can be installed as needed.
To really go over the top, there are also half-cases and actual accessory lens/filters available; a circular polarizer, a fisheye, a center-focus, a mirage, and a cross-screen.
Tuesday, June 18, 2013
First Impressions: Adobe Photoshop Touch for iPad
No less serious than iPhoto for iPad image processing, I was far less impressed with Photoshop Touch than with this nearest competitor.
Monday, June 17, 2013
First Impressions: Apple iPhoto for iPad
This is a serious, must have app for photographers working with the iPad. Its non-destructive editing is the perfect complement to Photoshop Touch’s destructive, layer-based editing.
Sunday, June 16, 2013
Goin’ Mobile
With the acquisition of a new iPad 4, I’m gearing up to take on a whole new workflow; Tablet post-processing.
The iPad 4’s retina display offers incredible resolution, and the ability to present my work in a myriad of ways. Not to mention all the other ways I can use it as a photographic and self-promotion tool. But there’s yet another way I can use it.
After evaluating Photoshop Touch and iPhoto for the iPad, I can say without hesitation that these are apps that will make post-processing in the field a very real possibility.
iPhoto is essentially Adobe Camera Raw for the iPad; non-destructive editing that can be used to produce an infinite number of iterations from a single master with the ability to revert back to the original at any time.
Photoshop touch allows you to do destructive layer-based editing, with many of the features of its desktop sibling.
Both approaches offer their advantages, but when I was able to correct the underexposed version of a bracketed exposure, and make it look better than properly exposed one, I knew that power was not to be taken lightly.
The ability to shoot, process and upload from any location is a yet another amazingly cool thing made possible by Apple.
Friday, May 24, 2013
Sheepscot River, Wiscassett
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| Sheepscot River, Wiscassett, Maine; former resting place of the Hesper and Luther Little. Nikon D50m AF NIKKOR 20mm f/2.8D, B+W 092M IR Dark Red Filter. |
Wednesday, April 3, 2013
Keyword Taxonomies in Bridge
In biology, the term taxonomy is used to describe an ordered system for the classification of organisms, indicating their relationships. It is also used in other fields as well, notably User Experience Design, where it’s used to construct a user-centric information architecture. In photography, it’s used to organize vast image libraries.
Thursday, March 7, 2013
Depth of (Understanding of) Field
Aspiring photogs ask me, “how do I focus on two things at once, like that bird in the tree over there and this branch over here?”
Wednesday, March 6, 2013
Why Be Normal?
A fellow photog whom I’m try to convince to purchase a 50mm and 35mm prime lens asks, “why do I want these”. Currently, he owns a full-frame camera with two zoom lenses; standard and telephoto.
To him and others like him, I offer this...
The normal field of view of human vision equates approximately to the diagonal measurement of the film or sensor frame. In this case, that’s about 43mm. In the early days of camera manufacturing, it was easier to make a sharp 50mm lens than shorter focal lengths, so 50mm became the standard and today represents the “baseline” focal length. Back in the day, when you bought a 35mm camera with an interchangeable lens, it came bundled with a reasonably fast 50mm lens. And this lens is just about the fastest, sharpest, highest quality optic you can buy for your camera.
Since its angle of view approximates what the human eye sees (cropped by the 35mm frame of course) it’s naturally easier to capture your visualization of the subject in the frame, and to do so in low light, with lower distortion and aberration than you would get using a zoom lens. It also encourages you to “zoom” by moving towards, away from and thus around your subject. So, in this way it takes away the “restrictions” you naturally have with a zoom lens. If you can’t make a great photo with a normal lens, you won’t do any better with a zoom.
Once you get used to composing with a normal lens, you will learn good habits that will benefit you when you move on to working with a zoom. For example, photogs used to working with prime lenses will “dial-in” the focal length on a zoom first, choosing it for the perspective it will achieve, then compose by moving around the subject.
The “perspective” of the composition is far more important than its scale in the frame. So, you choose your angle of view with the focal length first, then control its scale by altering the camera-to-subject distance. Prime lenses make it much easier to do that.
So, why a 35mm wide-angle lens as a second lens?
Lenses with wider viewing angles encourage you to get closer to the subject, and thus more intimate. They put you “in the heart of the action”. If you are in a moderately-sized room, they allow you get the shot while actually being in that room, and not having to shoot through an open doorway. They also have deeper depth of field, and thus less critical focusing requirements. They are forgiving of slower shutter speeds. And although slower, usually by only one stop compared with “normal” lenses. And, being close to 43mm, they are arguably more “normal” than a 50mm. Lastly, they are the choice of many famous photographers.
Another way to think about it is that 43mm is just about dead center between 35mm and 50mm, making working with these focal lengths ideal in terms of range; slightly wider, and slightly narrower than “normal”.
So, the bottom line is, if you’re going to add prime lenses to your kit, the 50mm and 35mm are essential.
To him and others like him, I offer this...
The normal field of view of human vision equates approximately to the diagonal measurement of the film or sensor frame. In this case, that’s about 43mm. In the early days of camera manufacturing, it was easier to make a sharp 50mm lens than shorter focal lengths, so 50mm became the standard and today represents the “baseline” focal length. Back in the day, when you bought a 35mm camera with an interchangeable lens, it came bundled with a reasonably fast 50mm lens. And this lens is just about the fastest, sharpest, highest quality optic you can buy for your camera.
Since its angle of view approximates what the human eye sees (cropped by the 35mm frame of course) it’s naturally easier to capture your visualization of the subject in the frame, and to do so in low light, with lower distortion and aberration than you would get using a zoom lens. It also encourages you to “zoom” by moving towards, away from and thus around your subject. So, in this way it takes away the “restrictions” you naturally have with a zoom lens. If you can’t make a great photo with a normal lens, you won’t do any better with a zoom.
Once you get used to composing with a normal lens, you will learn good habits that will benefit you when you move on to working with a zoom. For example, photogs used to working with prime lenses will “dial-in” the focal length on a zoom first, choosing it for the perspective it will achieve, then compose by moving around the subject.
The “perspective” of the composition is far more important than its scale in the frame. So, you choose your angle of view with the focal length first, then control its scale by altering the camera-to-subject distance. Prime lenses make it much easier to do that.
So, why a 35mm wide-angle lens as a second lens?
Lenses with wider viewing angles encourage you to get closer to the subject, and thus more intimate. They put you “in the heart of the action”. If you are in a moderately-sized room, they allow you get the shot while actually being in that room, and not having to shoot through an open doorway. They also have deeper depth of field, and thus less critical focusing requirements. They are forgiving of slower shutter speeds. And although slower, usually by only one stop compared with “normal” lenses. And, being close to 43mm, they are arguably more “normal” than a 50mm. Lastly, they are the choice of many famous photographers.
Another way to think about it is that 43mm is just about dead center between 35mm and 50mm, making working with these focal lengths ideal in terms of range; slightly wider, and slightly narrower than “normal”.
So, the bottom line is, if you’re going to add prime lenses to your kit, the 50mm and 35mm are essential.
Monday, March 4, 2013
Sunday, March 3, 2013
First Look: Nikon Coolpix P7700
Nikon’s latest P-series camera has the look and feel of a classic rangefinder, minus the viewfinder. For those who prefer a more traditional control layout and don’t require a viewfinder, it’s an exciting new addition to Nikon’s lineup.
This could have been the Nikon camera that went head-to-head with the Fujifilm X20, successor to the X10. But it wont’t be.
The Nikon Coolpix P7700 is one well-designed, high-performing, good-looking camera for sure. But Nikon has left out a vital feature which makes the P-series what it is...the optical viewfinder. Whether this an evolutionary step or a white elephant remains to be seen. Given the inroads Fujifilm has made with their X-series optical and hybrid-viewfinder cameras, it would be a shame for Nikon to lose ground in the marketplace by downgrading the P-series to a conventional digital compact.
Equipped with a smaller sensor than the Fujfilm X10, a slower minimum aperture, and the lack of a viewfinder, the P7700’s main advantage over the Fujifilm X20 seems to be the price: $399.00 vs. $599.00.
However, this price is $100.00 more than the P7100, which does include an optical viewfinder. Does less bang for your buck really equate to more in today’s marketplace? It seem strange for a company that once produced this camera to be taking such a route in its digital equivalent…
If Nikon had given the 1 V1 the layout of the P7700, and included a hybrid viewfinder a la the Fujifilm XPro-1 it might have become the digital equivalent of the venerable Nikon SP.
Had the P7700 been equipped with a hybrid (or even standard optical) viewfinder, or even a dedicated add-on finder, I most certainly would have bought one, even though I already own the Fujifilm X10. But as it stands, Nikon still has not offered a rangefinder-like companion to my growing collection of Nikon DSLRs and SLRs. But for those of you who prefer a more traditional design in your digital camera, and are not in dire need of a viewfinder, the Nikon Coolpix P7700 I give it the thumbs up.
 | |
|
This could have been the Nikon camera that went head-to-head with the Fujifilm X20, successor to the X10. But it wont’t be.
The Nikon Coolpix P7700 is one well-designed, high-performing, good-looking camera for sure. But Nikon has left out a vital feature which makes the P-series what it is...the optical viewfinder. Whether this an evolutionary step or a white elephant remains to be seen. Given the inroads Fujifilm has made with their X-series optical and hybrid-viewfinder cameras, it would be a shame for Nikon to lose ground in the marketplace by downgrading the P-series to a conventional digital compact.
Equipped with a smaller sensor than the Fujfilm X10, a slower minimum aperture, and the lack of a viewfinder, the P7700’s main advantage over the Fujifilm X20 seems to be the price: $399.00 vs. $599.00.
 |
| Plenty of controls, great layout. But where’s the viewfinder for the extra $100.00? |
However, this price is $100.00 more than the P7100, which does include an optical viewfinder. Does less bang for your buck really equate to more in today’s marketplace? It seem strange for a company that once produced this camera to be taking such a route in its digital equivalent…
 |
| The legendary Nikon SP Rangefinder. |
If Nikon had given the 1 V1 the layout of the P7700, and included a hybrid viewfinder a la the Fujifilm XPro-1 it might have become the digital equivalent of the venerable Nikon SP.
 |
| Another Nikon camera which had great potential, but somewhat missed the boat. |
Had the P7700 been equipped with a hybrid (or even standard optical) viewfinder, or even a dedicated add-on finder, I most certainly would have bought one, even though I already own the Fujifilm X10. But as it stands, Nikon still has not offered a rangefinder-like companion to my growing collection of Nikon DSLRs and SLRs. But for those of you who prefer a more traditional design in your digital camera, and are not in dire need of a viewfinder, the Nikon Coolpix P7700 I give it the thumbs up.
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