Innholdsfortegnelse for May 2015 i N-Photo: the Nikon magazine

01 Salmon Arm Sunset Viktoria Haack, Canada “This was shot near my home in British Columbia. During the summer the weather gets very humid in this part of Canada, which can result in some spectacular thunderstorms. I took this just after one such storm, which left the wooden boards of the wharf wet and shiny, and also reduced a lot of the usual foot traffic on the wharf.” www.viktoriahaackphotography.com Nikon D300s, Sigma 10-20mm f/4-5.6 EX DC HSM, 3 secs, f/16, ISO125 02 Side Effects Kacper Kowalski, Poland Second Place, Long-Term Projects, Stories “Side Effects is a documentary photo project about the relationship between humans and nature. It was shot from a paraglider some 500 feet above the ground, mainly in the area surrounding Gdynia, in Poland, where I live. What…

01 Make your stencil Before heading out, print out a basic shape (we used a butterfly) in white on a black background, twice. The flash light will penetrate the white area, but not the black. Tape the two printouts together, then to your softbox, with the shape facing the flash. 02 Lock the focus Wait until evening, or find an underground location with an interesting wall to shoot against. Set up your tripod, and focus on the wall. You may need a torch or similar to help you do this, but once autofocus is achieved, switch to manual to lock it in place. 03 Let them fly! Set the shutter speed to 10 secs, at ISO100, with an aperture that allows the background to be seen. (We used f/11.) Set…

THE MISSION To take close-up shots without a macro lens TIME NEEDED ■ One to two hours SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ Nikon D-SLR ■ Tripod ■ Lens reversal ring (of the same size as your lens mount) ■ Extension tube ■ Nikon D-type lens NEXT ISSUE… How to look after your costly camera kit If you’ve ever longed to take macro photos but can’t justify buying more kit, we’re going to tell you how to do it on the cheap. Getting a close-up of a flower or insect is achievable to some degree with a standard lens, but the most straightforward method of getting a 1:1 (life-size) reproduction is to use a macro lens. These lenses are…

01 Steady does it Your tripod is your best friend here, providing a sure way to keep all your images aligned and giving you time to think about your composition. With a fixed camera you can take a minute to decide what you’d like to include or cut out. You’ll need two images, one with the model, and one without. 02 Get set up With a semi-clothed model you need to get everything set up prior to shooting. Keep your model clothed until your settings are finalised. Models don’t enjoy standing around half-naked waiting for you to tweak settings, especially on a cold day in early spring like the one we were shooting on! 03 Be consistent Keep the exposure consistent so that everything fits together later. Use manual mode…

THE MISSION ■ To shoot a sunset in a series of images, then combine them into a single image TIME NEEDED ■ Four hours SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ Nikon D-SLR ■ Tripod ■ ND Grad Filter ■ Photoshop CS5 or above NEXT ISSUE… Get creative with powder paint and off-camera flash! ■ Whether you’re shooting a sunrise or a sunset, picking the perfect time to take the shot can be challenging. The range of colours, tones and the distribution of light over time can mean taking multiple images, all with merit in their own right. So why not combine the images into a single photo showing the contrast between day and night? A quick word of warning…

GET £50 FOR EVERY PHOTO STORY WE PUBLISH! Come on in! They say you should shoot what you love, as it will show in your images, and that’s certainly the case with this issue’s reader stories, which – while featuring very different subject matter – all have one thing in common: passion. Passion for the subject, and passion for capturing the essence of that subject on camera, whether it’s an upside-down kayaker frozen in time, or a portrait packed with character. Why not write in and tell us what you’re passionate about...? WE WANT YOUR STORIES, PICTURES AND LETTERS! SEND THEM TO : N-Photo Magazine Future Publishing Ltd Quay House The Ambury Bath, UK BA1 1UA Or drop us a line at: mail@nphotomag.com www.facebook.com/nphotomag www.twitter.com/nphotomag PROJECT INFO MISSION To capture…

We reserve the right to edit any queries for clarity or brevity. You can also write to us at N-Photo Magazine, The Ambury, Bath, UK, BA1 1UA * star letter! THANKS TO YOU, FROM US… I have been a subscriber to N-Photo for two years. I like the quality of the magazine, and understand that it depends upon support from advertisers. I purchased my first Nikon SLR in 1969 and most of my lenses are Nikkor. I am currently entering the digital age with a D800e. I have no interest in DX cameras or lenses. I am looking for FX primes and zooms. I have to accept that I am no longer 25 and rock-steady with a 600mm lens, needing stabilisation. The demise of the pro-oriented stores means I depend…

▀ This medical term, familiar to hospital drama addicts, means making a quick judgment on a three-way priority, and it may not be too fanciful to apply the term ‘triage’ to exposure, because every shooting situation demands that you prioritise one of the three exposure settings. Also, when it’s a fast moving situation and you’re not in control, which is surely the case with most interesting photography, you need to do this quickly. If there’s plenty of light, and you have a large-scale subject where nothing much is moving, such as a sunlit landscape, then you have more options – an f/stop here or there, or a faster or slower shutter speed, isn’t going to make much difference. However, when things get critical, then one or two settings have to…

JARGON BUSTER Key terms explained SIDECAR FILE Any adjustments that you make to a photo in Capture NX-D are stored in a separate file. This lives in a NKS_PARA M folder that shares the same folder as your edited image. RAW Different camera manufacturers use their own image processing formats to capture a RAW image file. Nikon RAW files have a .NEF (from Nikon D-SLR s) or .NRW (from Nikon Coolpix cameras) suffix. ▀ You can spend lots of time tweaking a photograph’s colours and tones in Capture NX-D, making the most of the tools in the Edit palette. However, if you’d prefer to spend more time shooting and less time processing pictures, it’s worth experimenting with the sliders and dropdown menus in the Picture Control pane. You can use…

01 Quick release Fit the quick-release plate from your tripod or monopod to the mounting foot of the lens’s tripod collar. Some quick release plates offer different orientations for cameras and lenses, as is the case with the one shown here. 02 On the level Tripod collars are essential to keep the weight of a big lens centralised, so the tripod stays stable. To maintain balance and stability when shooting upwards or downwards at steep angles, a gimbal head is a useful addition. 03 Portrait orientation Another bonus of using a tripod collar is that it enables quick and easy swapping between landscape (horizontal) and portrait (upright) orientation, while still keeping the camera and lens properly balanced on the tripod.…

Anybody looking for serious telephoto reach at a bargain price should find this Sigma a good compromise. It has a variable (and not terribly fast) widest aperture of f/5.6-6.3, but the trade-off is that it’s quite light, at just 1.78kg. The build is basic, without weather seals or even a rubber sealing ring on the mount, and there’s no focus-range limiter switch, but plus points include ring-type ultrasonic autofocus and a dual mode optical stabiliser offering both static and panning modes. Optical construction includes three SLD (Special Low Dispersion) elements which are designed to help with chromatic aberration (colour fringing), and Sigma’s ‘Super Multi-Layer Coating’ to reduce ghosting and flare. The filter thread is typically large at 86mm, but still smaller than in the newer Sigma and Tamron 150-600mm lenses.…

This is the first of two new Sigma 150-600mm lenses. The ‘S’ in this one’s name tells you it’s a ‘Sport’ lens, a more upmarket and sophisticated option than the company’s ‘C’-labelled ‘Contemporary’ 150-600mm offering. Indeed, it’s weather-sealed with a dust- and splash-proof design that extends to a water-repellent coating on the front and rear elements. There’s a new and uprated optical stabiliser, plus plenty of switches to play with. These include dual-mode stabilisation, a focus-range limiter switch and custom modes that can be set up via the optional USB dock. The AF/MF focus switch adds an additional ‘Manual Override’ mode that works in continuous as well as single autofocus, and the zoom lock switch can be engaged at any zoom setting. Like the Sigma 150-500mm this lens has three…

One f/stop slower than the Sigma 120-300mm lens on test, but with greater telephoto reach, this lens has a similar constant-aperture design. As such, it doesn’t physically extend at longer zoom settings, which is just as well as it measures 366mm in length anyway. That’s a fair bit longer than the Sigma but, thanks to a tough yet ‘lightweight’ magnesium alloy build, it’s pretty much the same weight at 3.36kg. Weight-saving extends to the hood being constructed from carbon fibre. There’s no front filter thread, but 52mm drop-in filters can be used at the rear. Updated VR stabilisation, nano crystal coatings and the addition of an A/M autofocus mode (as in the Nikon 80-400mm) are the main differences between this Mk II edition and the older version of the lens.…

THE MISSION ■ To set up Collections in Lightroom, and file shots automatically TIME NEEDED ■ It depends how many photos you already have! SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ Lightroom 5 NEXT ISSUE… Tethered shooting using Lightroom to import ■ Digital cameras enable you to generate thousands of photos in a short time. That means having a lot to search through when you want to find a specific one. Lightroom keeps links to your images in its Catalog, which has the option to display all the photos it contains. To narrow things down, click the Previous Import label to see your most recent additions. In a future issue we’ll look in detail at the ways Lightroom’s Library module…

01 Work out the ambient exposure Set Manual mode on your camera and select a shutter speed of 1/200 sec or less (most flashes won’t work at speeds higher than this). Take a test shot to work out the correct aperture and ISO for the ambient light – we set a shutter speed of 1/125 sec at f/2.8 and ISO400. 02 Go wide Set the aperture to its widest setting. Because the lens is reversed, the ‘front’ element is much smaller than usual, limiting the amount of light reaching the sensor; as such, even framing can be tricky. The depth of field will also be extremely shallow, making it hard to get a subject in focus. 03 Shift for sharpness You’ll need plenty of light, as well as room to…

THE MISSION ■ Capture a highcontrast scene by combining several images in one HDR conversion TIME NEEDED ■ 20 minutes SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ Photoshop CS NEXT ISSUE… Be brutal, and hack up a portrait photo ■ Judging from N-Photo’s inbox, HDR (high dynamic range) images are still pretty popular. When you set the exposure for an image, it’s often something of a sacrificial process: with a high-contrast landscape, for example, you get the sky right and the ground is under-exposed, or the foreground is bright but the sky is washed out. HDR solves this by merging multiple shots of the same scene. This can be done subtly, or to the extremes that we often see, with…

Set manual mode You’ll need to use manual mode to be able to adapt to the changing light. Start at f/22, at an ISO of 100. Call up your histogram and adjust the shutter speed so that the graph isn’t stacked on either side. As the day develops, lengthen the shutter speed using the histogram as a reference point. Shoot in RAW Shoot in RAW so you can adjust the white balance or exposure later, if needed. You can also make each image significantly different in post processing if required. You can use as little as two images, but shoot 20-30 if you can, to give you plenty of choice when it comes to editing.…

PROJECT INFO MISSION To enjoy and develop my street photography PHOTO GRAPHER Harry Reid AGE 68 LOCATION Kilkenny, Ireland KIT Nikon D800, Nikon 55mm f/2.8, Nikon 24-70mm f/2.8, Sigma 24-105mm f4 Art, Nikon 70-200mm f/2.8, Nikon 80-400mm, Nikon SB910, Manfrot to tripod WEB www.facebook.com/pages/Harry-Reid-Photography ▀ I think that my interest in photography started when I was aged about five years old. An aunt that I visited regularly had a camera which featured a bellows of some sort. This camera always fascinated me, but I was never allowed the privilege of handling it. (I wonder why!) As time passed I bought a series of very basic film cameras and eventually bought a Russian 35mm film camera, which is where my interest in photography really started in earnest. In those days I…

THIS MONTH’S WINNERS CROWD VOTE WINNER The Moon Bar We can see why the crowd voted for this shot by Dean Wright. Not only is the location eye-catching, but it shows Dean has the technical ability to capture such a well-balanced, well-exposed shot filled with so much detail while not showing the classic errors of low-light photography such as shapeless light sources or noise. JUDGES’ VOTE WINNER Burning Hot Party Light trails can become clichéd, reduced to shots of dark roads with moving headlights. This image by Pal Szilagyi Palko discards convention taking on a far more artistic look, resembling flames licking up from the crowd. Motion blur is normally shunned by photographers, but this shot shows how it can play into your hands. photocrowd In order to enter the…

▀ If you’re just starting out with an SLR, the numbers may not seem too intuitive, going from f/2.8 to f/4 to f/5.6 and so on, but you soon get used to them. The lower the number, the wider the aperture and the more light that reaches the sensor. The most typical maximum aperture is f/2.8, but faster lenses can reach f/2, f/1.4 and even f/1.2, usually for a hefty price premium. They’re called faster because they enable a faster shutter speed to be set at the maximum aperture: so a lens with a maximum aperture of f/5.6 might struggle in low light, because even wide open, at f/5.6, it might require a shutter speed of, say, 1/8 sec for a correct exposure… in other words, too slow to shoot…

Tamron’s 200-500mm super-telephoto lens delivered decent image quality but had a very basic feature set, without any optical stabilisation or even a built-in autofocus motor. By contrast, the new 150-600mm boasts typically fast and whisper-quiet ringtype ultrasonic autofocus and Tamron’s VC (Vibration Compensation) stabilisation. Despite the extra 100mm in maximum focal length compared with the older 200-500mm lens, this one is not much bigger or heavier, at 106x258mm and 1.95kg. Indeed, it’s noticeably smaller and lighter than the competing, more expensive, Sigma 150-600mm lens. Then again, the Tamron lacks a couple of the Sigma’s more advanced features and, while it does have a weather-sealed mount, other parts are not sealed. Performance Consistently sharp shots are comfortably achievable when shooting handheld, thanks to the sub-2kg weight and the optical stabiliser, which…

Released at the turn of the century, the original D-mount 80-400mm was Nikon’s first lens to feature VR (Vibration Reduction) stabilisation, but it lacked a built-in autofocus system. This newer G-mount edition is a complete redesign that includes ring-type ultrasonic autofocus. It’s slightly heavier than the original, but is nevertheless the most lightweight lens in this test group, at 1.57kg, and has the smallest filter thread, at 77mm. Focusing modes include the usual M/A (autofocus with manual override), plus an A/M mode that reduces the risk of nudging the autofocus setting accidentally. There’s a focus limiter switch and a zoom lock switch, too. Posh glass includes four ED (Extra-low Dispersion) elements to reduce chromatic aberration, and one Super ED element, with nano crystal coatings, to reduce ghosting and flare. Weather…

The Sigma 120-300mm and Nikon 200-400mm, which weigh about 3.4kg each and measure 366mm and 291mm respectively, are two of the heaviest and biggest lenses in this test group, but this lens dwarfs them both. The somewhat bonkers build is more than half a metre long (544mm) and the lens doesn’t so much ‘tip’ as ‘slam’ the scales at nearly 6kg. Handheld photography is off the menu, especially considering the lack an optical stabiliser, which would have been useful when shooting with a monopod. Thanks to its constant aperture design, the lens doesn’t extend at longer zoom settings. Features and build quality feel a bit down market compared with a couple of the other Sigma lenses on test. There are no weather seals, nor a focus limiter switch. That said,…

www.istorage-uk.com If you captured a stunning set of shots, chances are you’ll want to be in control over who views them. The diskAshur DT keeps your portfolio safe with its integrated key pad and personalised pin code. Military-grade data encryption means your shots are never in danger of falling into the wrong hands, even if the internal hard drive is removed from the case. Not only is this one of the physically smallest drives in our group, it also boasts top build quality and a healthy turn of speed. With 164 megabytes per second video read and write rates via the USB 3.0 connection, it’s the third-quickest drive on test. NPhoto VERDICT PROS: Rugged build quality and equally tough data protection CONS: Far from the cheapest way to store your…

www.iosafe.com Backing up your photos to an external hard drive is a great way to keep them safe from viruses or other computer calamities, but you can go further. The Solo G3 may weigh in at seven kilograms and dwarf your average hard drive, but that’s because it’s certified fireproof to 30 minutes and waterproof to 10 feet for up to three days. An integrated locking point adds even more peace of mind, as does a year’s free data-recovery service. The Solo G3 is heavy, but it’s far from slow. With a maximum read speed of 169MB per second and impressive write rates, only the Buffalo drive performs faster. NPhoto VERDICT PROS: Ultimate protection, plus top-notch performance CONS: Very bulky, with an equally hefty price tag WE SAY: A no-compromise…

Glitz, glamour and speed Sebastian Vettel passes the ultra-luxurious Yas hotel on his way to winning the Abu Dhabi Grand Prix in 2013. Vettel went on to win the Championship that year, and Mark’s image clearly shows the German’s domination. Here come the Brits! Team GB’s track pursuit team at the 2008 Beijing Olympics. They went on to win the gold medal, and dominate the track cycling event that year, making this shot, with its blurred background and sharp subject, all the more iconic. In a spin In spite of professional diving being one of the more difficult sports to capture, Mark perfectly caught Chinese diver Liang Huo in mid-rotation during the men’s 10-metre platform final at the Beijing Olympics in 2008.…

THE MISSION ■ To get creative with a flashgun and a home-made stencil TIME NEEDED ■ One hour SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ Nikon D-SLR ■ Tripod ■ Flashgun ■ Softbox ■ Printout of a shape NEXT ISSUE… Creative effects from cut-up fruit ■ At first glance, urban landscapes can look quite drab. Colour palettes tend to be dominated by greys and browns, and thanks to an abundance of artificial lighting and harsh shadows, shots taken in a city setting can look clinical at best and a touch depressing at worst. So why not add a contrasting touch of magic to images using this simple flash technique? Light stencils are huge fun to experiment with; using a single…

01 Make a Quick Collection The Catalog panel on the left of the Library module has a Quick Collection label. To add a set of photos to a Quick Collection, click on the thumbnails of the images you want to gather and press B. Here we’ve collected six landscapethemed photos together in a Quick Collection. 02 Save the Quick Collection Go to the Catalog panel and click the Quick Collection label. The Grid view will now display the images you gathered. Right-click the Quick Collection label to summon the Save Quick Collection window. Label it – we’ve called ours Landscape Collection. Click Save. 03 Set as Target Collection The Quick Collection will empty once you’ve added the photos to their own Collection. Click on your newly-created Collection to see its…

THE MISSION ■ To create a fun illusion using a tripod, a mirror and a bit of Photoshop trickery! TIME NEEDED ■ Two hours SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ D-SLR ■ Tripod ■ Mirror ■ Model ■ Photoshop Elements NEXT ISSUE… Shoot the moon with our essential guide ■ Reflections are a great way to add intrigue to your images by offering a glimpse of the scene beyond the edges of the frame. Whether it’s a reflected mountain in a lake, a street scene caught in a shop window, or a landscape glimpsed in a car wing mirror, reflections show the world beyond the edges of the viewfinder, a natural frame-within-aframe. And this makes it all the more…

01 One we prepared earlier If you don’t have your own series of shots, use the images included on the cover disc, or follow the link at the bottom of the page. Copy the images onto your hard drive. Open Photoshop and select File > Open, and choose the image DayToNight1.jpg from the downloaded images. 02 Next! Open DayToNight2.jpg, then go to Select in the menu bar, and choose All (or press Ctrl/Cmd A). This will allow you to copy the entire image using Edit, and then Copy (Ctrl/Cmd C). Select DayToNight1.jpg and select Edit, then Paste (Ctrl/Cmd V). This will create a second layer for DayToNight2.jpg. 03 Stack ’em high Repeat the process for all of the images, until DayToNight1 has them all layered on top of it, moving…

PROJECT INFO MISSION To take as many images as possible while touring Pembrokeshire PHOTOGRAPHER Terry Tooze AGE 48 LOCATION Chediston, UK KIT Nikon D7100, Tokina ATX 11-16mm f/2.8 PRO DX, Nikon AF-S DX 18-200mm f/3.5-5.6G ED VR II, Tamron SP AF 70-300mm f/4-5.6 Di VC USD, Manfrot to 190XB ▀ While I was on my annual visit to Wales, I read a leaflet about Skomer, which is also known as Puffin Island. It crossed my mind what a great photo challenge this would be. It would mean a day’s shooting with my D7100, with plenty of time to capture both the puffins and the outstanding landscape of the Welsh coast. After convincing my wife what a great time she would have on this paradise island (okay, I might have dressed…

There are few masters of macro to rival Paul Harcourt Davies. Whether trying to photograph an insect’s eyes or all of Europe’s orchid species, he tells Keith Wilson that no task overwhelms him… Born and raised in the mining villages of south Wales, Paul Harcourt Davies headed west to the dreaming spires of Oxford to read physics. But it was his childhood fascination with the natural world that determined the rest of his life journey. Now residing in Italy, the ‘macro maestro’ reveals his close-focusing techniques, and how he is using digital technology to share his expertise… Which of your interests came first: photography or nature? Definitely nature. My earliest clear memories involve the natural world. As a three-year-old I recall standing by a brook with my father watching a…

THE CONTENDERS 1 Sigma 150-500mm f/5-6.3 DG OS HSM £700, $1070 2 Tamron SP 150-600mm f/5-6.3 Di VC USD £900, $1070 3 Sigma APO 50-500mm f/4.5-6.3 DG OS HSM £1000, $1660 4 Sigma 150-600mm f/5-6.3 DG OS HSM S £1500, $2000 5 Nikon AF-S 80-400mm f/4.5-5.6G ED VR £1900, $2700 6 Sigma 120-300mm f/2.8 DG OS HSM S £2700, $3600 7 Nikon AF-S 200-400mm f/4G ED VR II £4900, $6300 8 Sigma APO 300-800mm f/5.6 EX DG HSM £5500, $8000 EQUIPMENT KNOW-HOW FEATURES TO LOO K FOR … Here are some of the things you might like to consider when you’re thinking of going long Stabilisation Optical stabilisation can be a huge bonus for telephoto shooting (see Know Your Limits, page 77). Dualmode stabilisers are effective for separating static and…

A maximum focal length of 500mm isn’t a standout feature in today’s market, but this Sigma has a class-leading 10x zoom range. Naturally, it’s debatable how often you’ll want to use a 50mm lens that weighs almost 2kg. The only times it might be useful is if you’re shooting at long telephoto settings and suddenly want to capture a wider angle but don’t have time to swap lenses, or conditions are dusty or humid. Like the Sigma 150-500mm lens on test, this one lacks weather seals and has no focus range limiter switch. Unlike the other lens, the closest focus distance is variable, going from 50cm to 180cm as you extend through the zoom range. Other similarities include ring-type ultrasonic autofocus and dual mode stabilisation. The latter feature wasn’t included…

Occupying a unique spot in the marketplace, this chunky Sigma lens combines a respectable telephoto zoom range with a wide f/2.8 aperture that remains constant throughout. As such, it’s two f/stops faster than typical 70-300mm f/4-5.6 telephoto zooms at the long end of their zoom range. The difference in aperture width is even more apparent when compared to the lenses on test that stretch to 500mm or 600mm at f/6.3 but, then again, you’re limited to about half the telephoto reach. Like the new Sigma 150-600mm, this ‘Sport’ lens has weather seals, a focus range limiter, dual-mode (but older generation) stabiliser, and customisation options that come courtesy of an optional USB dock. The lenses are almost identical in size, but this one has an internal zoom mechanism so it doesn’t…

Nikon’s flagship 200-400mm zoom eases ahead of the competition to deliver stunning image quality, backed up by a rock-solid, weather-sealed and consummately professional build. The only down side is the purchase price, which is simply beyond the reach of many. For taking telephoto reach to the max without paying over the odds, the Sigma and Tamron 150-600mm lenses are best value. The Sigma has the edge for image quality, sophistication and weather-sealed build quality, but is a bit heavier and more expensive. The Nikon 80-400mm is an attractive proposition, but it’s pricey and more limited in its telephoto reach. If you’re content with shorter reach and prefer a wide available aperture, the Sigma 120-300mm is attractive. Sigma’s 150-500mm is a good performer and the least expensive lens in the group,…

www.g-technology.com Quality oozes from every vent in this drive’s aluminium case. It’ll perfectly complement an original Mac Pro and it packs plenty of punch with a 7200RPM hard drive. We found the G-DRIVE only fractionally slower when dealing with video files than the ioSafe and diskAshur drives, but it came out on top of the latter in our image file tests, with a 155 megabyte per second read rate. These results were achieved using USB 3.0 – the drive’s Thunderbolt port should in theory unleash even more speed, but USB 3.0 is already faster than the read/write rate of the drive, so don’t expect Thunderbolt to make any appreciable difference. NPhoto VERDICT PROS: Sexy design with sublime build quality CONS: Thunderbolt speed can’t be fully exploited WE SAY: There’s style…