Innholdsfortegnelse for September 2017 i N-Photo: the Nikon magazine

This issue, it’s a case of out with the old and in with the new – in more ways than one. With its 46MP sensor and 9fps, Nikon’s new D850 looks set to be every bit as groundbreaking as its venerated older sibling, the D800. At the time of writing its specs have yet to be confirmed, and may still be unconfirmed by the time you read this, but we were so excited at the prospect of what its features might be that we’ve had some fun gazing into our crystal ball and coming up with a few predictions. And if it is all a done deal by the time you read this, you can have some fun of your own, scoring us nconfirmed by the time you read this,…

As we write this special report, the details of the new Nikon D850 are still shrouded in secrecy. But Nikon has released a few little ‘teasers’ and, from what we know of Nikon’s past strategy, current technologies and stated aims for the D850, we’ve put together what we think could prove a pretty accurate picture of Nikon’s latest camera. While this issue is still on sale, however, the true facts about the Nikon D850 are likely to become known, and you can see whether or not we got our facts right. We’re making a dozen key predictions so you can give us marks out of 12! If we’re right, this could be the biggest Nikon camera for a decade. Five years ago, Nikon launched the D800, a camera with the…

The best Nikon images from International Garden Photographer of the Year’s Project Contests FINALIST, MACRO Dancing Poppies Trui Heinhuis, The Netherlands I captured this poppy in the early morning sun, its fragile form dancing in the wind. Nikon D4, 105mm f/2.8, 1/4000 sec, f/3.2, ISO400 HIGHLY COMMENDED, MACRO Iceflower Zsolt Varanka, Hungary It was a freezing morning when I found this Fritillaria meleagris covered in crystals of ice. Nikon D750, 70-200mm f/2.8, 1/1600 sec, f/2.8, ISO200 HIGHLY COMMENDED, MACRO Monarch Hazel Ellis, New Zealand I saw this caterpillar clinging to a cosmos stem, preparing itself for its transformation into a monarch butterfly. Nikon D7100, 50mm f/1.8, 1/1600 sec, f/1.8, ISO100 COMMENDED, MACRO A Blast of Grass Alison Lawrence, UK The rain revealed the unexpected and vibrant hues of pink and…

01 LONG ZOOM To fill the frame with distant animals you need a long lens – at least 300mm. Monster primes like Nikon’s 600mm f/4 are preferred by pros, but for most of us this is way out of both our price range and baggage allowance. A versatile, highquality zoom like the Sigma 150-600mm Sport is ideal, and won’t break the bank. 02 WIDE ANGLE A wide-angle lens is a very useful addition. Not only can you use it to shoot landscapes or star shots at night, it also comes in handy on those occasions when animals come up really close to the safari vehicle, or for capturing wider shots of wildlife within those renowned epic African landscapes. 03 CAMERA A DSLR with good low-light performance means you can shoot…

Use a tripod There are times on safari when you can step out of the truck and get set up for a landscape. Here a tripod is essential, especially at the start or end of the day when the light is low. It means you can use slower shutter speeds, which allows for narrow apertures – and therefore a greater depth of field – and also means you can use a lowest ISO for the best image quality. Photograph the stars The lack of artiflcial light means you’ll often get a great view of the Milky Way at night in Africa. Use a tripod and set a shutter speed of 30 secs (any slower causes the stars to blur). Use a wide aperture and high ISO. If any areas blow…

There are ways you can simulate a light leak in-camera in the digital era The mission • Produce creative light leak effects with matches Time • 10 minutes Skill level •Beginner • Intermediate • Advanced Kit needed • Fast prime lens, such as 50mm f/1.4 or similar • Matches or a lighter • Bucket of water • Damp towel Back in the good old days of film, if you had a gap in your camera body, light would leak in through the cracks and tinge the film with colour casts across the frame. This exposure to light, or ‘light leaking’, originally thought of as a problem, caught on as a creative technique that enhances images beyond their standard exposure. Light leaking can be emulated in digital photography, and is usually…

The mission • Produce realisticlooking brush strokes Time •30 minutes Skill level •Beginner • Intermediate • Advanced Kit needed • Photoshop CC Many of Photoshop’s tools are brush-based. By changing the size, softness and opacity of a brush-based tool, you can fine-tune the way it alters the pixels in an image. If you use a graphics tablet then you can use changes in stylus pressure to create lighter or darker strokes and work with more precision. You can also use brushes to mimic natural media. Select the Brush tool, then click the Brush Preset picker and scroll down to find more creative shapes, such as Chalk, which produces a grainy texture. You’ll also find creative brush tips, such as Leaves, which scatters random leaf shapes. By clicking the Brush panel…

Mission: To capture the varied landscapes of Chile in all their glory Photographer: Cristián Pomés Correa Age: 47 Location: Santiago de Chile Kit: D3S, D300, Nikon 14-24mm f/2.8, 18-35mm f/3.5-4.5, 24-85mm f/2.8-4, 50mm f/1.8, 70-200mm f/2.8, 200-500mm f/5.6 A s a laparoscopic surgeon, I am a perfectionist in my work, and my choice of camera reflects this; that’s why I chose Nikon for my second big passion in life, photography. My work as a surgeon can be very involved and intense, so I try to get out into the Chilean landscape to reconnect with this beautiful country as often as I can. One weekend my wife and I went away for a romantic weekend to San Pedro de Atacama. I only took my Nikon D300 and a single lens, the Nikon…

LETTER OF THE MONTH Seeing the light After years of happiness with my D2X shooting mainly tethered in a studio, I decided I wanted to get out on location more. At the same time I also decided to see what all this full-frame hoo-ha was all about, so I bought myself (deep breath) a Sony A7. I know, I know… don’t shoot me yet, it gets better, I promise. After about seven months I decided that I wasn’t happy at all. I didn’t find the thing in any way intuitive and found that I really wasn’t enjoying my photography. Maybe I was too stuck in my ways? I was missing my Nikon experience so much. I returned to the shop I bought the Sony from and arranged a deal to…

Graphic echoes, which are never at the forefront of an image anyway, can work simply as mild helpers, in ways that don’t necessarily draw attention to themselves. This can be important when you have an assignment shot – meaning one that you do have to shoot rather than a take-it-or-leave-it, personally-driven photograph. Here’s a case in point: a giant tortoise reserve on the remote island of Rodrigues in the Indian Ocean. This small island used to have the highest density of tortoises on Earth, but they were killed off or exported in the 18th century. The recent repopulation in this reserve made it important for my story, but despite there being almost 3000 tortoises settled here, they’re scattered and inactive, most asleep in corners. A sea of tortoises, which would…

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There is an amazing choice of theatres in London, but it was not my aim to fill a book with endless pictures of red seats These images are a selection taken from the upcoming book London Theatres, which records London’s theatres as they stand in the 21st Century. I have now worked on four books; after the success of Unseen London and London Uncovered, my publisher Andrew Dunn approached me with the idea to do a theatre book and the seed was planted. Inside, there are eight separate chapters, which start with the Grandes Dames of the West End, include popular landmark theatres such as Shakespeare’s Globe and then delve into smaller, hidden gems – locations that are relatively unknown or unused. Theatre critic Michael Coveney provides an accompanying written…

The first time you go on safari, you’ll wonder if anything will ever come close to it, ever again. From a photographer’s point of view, it really doesn’t get any better. Capturing exotic animals in their natural habitat is what wildlife photography is all about, and when on safari the sheer breadth and scale of the wildlife can be astounding. And it’s not just the majestic wildlife, which is everything you’d expect it to be and more. It’s also the people of Africa, the vibrant culture, the warm greetings and smiles. Then there’s the landscape, all wide open plains, huge skies and gorgeous light. As such, there’s more to safari than game drives and sundowners, and in this month’s feature we’ll explore the rich tapestry of photographic opportunities on offer,…

Bust the dust During dry periods the land can be a dust bowl, with swirling dust devils reaching into the sky. As such, dust can get everywhere, so bring along a lens cloth and cover the front element of the lens while driving. It might be a slight annoyance at times, but dust can also be a great mood-setter. When the sun is low in the sky, position yourself with the animal between you and the light for beautifully backlit photos. Precise focusing ‘Back-button’ focus disables the standard half-press of the shutter, instead assigning autofocus to the AF-On button, where your thumb naturally rests. By separating the act of focusing from taking the photo, there’s less danger of triggering focus accidentally, and it lets you quickly focus then recompose. Use…

Blur the backdrop In the hazy bright light you often get in Africa, try shooting portrait subjects with their back to the sun, as we don’t usually want harsh light over the face. Set your camera close to the widest aperture setting when shooting close-up portraits like this – we’re at f/2.8 here with a 50mm lens. As long as you focus precisely on the eyes, everything else in the background will be beautifully blurred so they stand out nicely. A good guide Your guide can make for a striking subject – we photographed our guide, Leperris, at sunset using an off-camera flash. A good guide is just as important as the right kit – they can spot animals that are mere dots on the horizon, and they will also…

The mission • Create a time-lapse from the moving weather Time • One hour Skill level • Beginner • Intermediate • Advanced Kit needed • Tripod • Nikon with built-in Time-lapse mode, or an intervalometer Cloud spotting, watching the waves, seeing the landscape swathed in spots of sunlight patched with shadow – these are just a few of the things we do to relax in life. But have you ever seen the true speed of the weather when you’re not watching in real time? You can create your own sped-up version of real life with a time-lapse. Time-lapses involve taking multiple shots at set intervals, then combining them together to create a video. You can be as extreme with this as you like; it can be a very slow process,…

The mission • Use compositional tips to improve landscapes Time • One hour Skill level • Beginner • Intermediate • Advanced Kit needed •Wide-angle or standard zoom lens •Tripod •ND filter W e’ve joined Nikon School UK in the Lake District for a ‘Nikon Meetup’ landscape masterclass. We’re going to show you how to shoot a landscape image with interesting foreground elements. We’ll use these elements to our advantage, enhancing the scene with specific creative compositional techniques, like leading lines and framing. When you arrive at a particularly pleasant vista, avoid the temptation to start shooting straight away. Often the best compositions are found with the eye first, and the camera later. When assessing the scene you should also be aware of how different lenses affect your photo. Wide-angle lenses…

Yasser Alaa Mobarack spent an entire year in India improving his travel photography R ecently I spent a whole year honing my travel photography in Delhi, India. For the entirety of my year-long stay there I used a Nikon D3100 coupled with my 18-55mm lens. For me the camera is just a tool, in the same way that a paint brush is for an artist, so the fact that I had entry-level kit didn’t deter me. There were many firsts for me during my year-long stay in Delhi. One thing that I was keen to photograph was someone praying in holy water, something I’d never seen before. With this in mind I headed down to Gurudwara Bangla Sahib, one of the biggest Sikh Temples in Delhi, which is known for its…

AUGUST, 2013 • LEICESTER, ENGLAND • NIKON D600 When Amy Shore graduated in the summer of 2013, the Leicestershire lass expected to be embarking on a career in craft design. Although photography had been her schoolgirl passion she didn’t rate her chances of making a career as a pro photographer. However, that summer a local performance-car mechanic, RM Wilson Engineering, asked her to take some publicity shots of a replica Ferrari 330 P4. “The Wilsons, Bob and his son Sam, had spent the past 25 years on and off building it and asked me if I could come around and take some photos,” says Amy. The world of classic and performance cars was not unfamiliar to Amy as her father, Andy, had worked for the Wilsons for about ten years.…

Specifications Full-frame compatible No Effective focal length 15-30mm Image stabilizer Yes, 3.5 stops Minimum focus distance 0.22m Max magnification factor 0.17x Construction 14 elements in 11 groups (with 3 aspherical elements) Internal focus Yes Filter size 72mm Diaphragm blades 7 Weather seals No Supplied accessories Front and rear lens caps, lens hood and soft case Dimensions (dia x length) 77x73mm Weight 230g Price £329/$307 Super-wide-angle zooms like this don’t just let you ‘get more in’. They can create dramatic differences in scale between foreground and background objects and exaggerate converging lines and perspective effects. They’re useful if you need to shoot in con?ned spaces or narrow city streets, but they can also enable dramatic compositions. Nikon’s new AF-P 10-20mm f/4.5-5.6G VR is unusually small and light and, by Nikon’s standards,…

The history of Nikon’s professional DSLRs shows just how far the technologies and the cameras have evolved. There are some notable landmarks, and some hints as to what might come in the future. What history tells us is that Nikon typically splits its pro DSLRs into two types: cameras designed for resolution, and cameras designed for speed. This makes sense because it’s very difficult, technically, to combine both. Except that, every now and again, Nikon launches a landmark camera that does both, and resets the baseline for everything else. This happened in 1999 with the launch of the Nikon D1, and again in 2007 with the Nikon D3. Is this about to happen all over again in 2017 with the Nikon D850? And, if so, what does this mean for…

01 HAT A good hat protects you from the sun and helps prevent glare when seeking distant animals whilst on a game drive. 02 COLOURS Go for muted greens, browns and khaki tones to blend in. Avoid dark blue – it attracts the nasty tsetse fly. 03 LONG SLEEVES A long-sleeved top and light trousers gives protection from the sun and helps prevent insect bites. Layers help you stay warm in the morning chill. 04 FOOTWEAR There’s no need for sturdy walking boots unless you’re doing a hike. Comfortable trainers are best. 05 PHOTO VEST A photographer’s vest may not be fashionable, but the assorted pockets are invaluable for keeping kit to hand. Light aircraft Small planes are the most convenient – and fun – way to get from the…

The mission Capture scenes with a shallow depth of field Time • 30 minutes Skill level • Beginner • Intermediate • Advanced Kit needed •‘Fast’ lens with a wide aperture, such as 50mm f/1.4 Typically, traditional coastal and landscape shots are usually taken with a wideangle focal length and narrow aperture, such as 24mm and f/16. This ensures you can capture a large part of the scene, and make sure that it’s all perfectly sharp, from the foreground to the horizon. The longer focal length and wider aperture may initially seem counter-intuitive, but we can get creative to make it work in our favour However, in this project, we’re going to show you how creative your scenic shots can look if you do the complete opposite. We’re at Weston-super-Mare, just…

While embedding copyright info into metadata is useful, people can still ignore it The mission • Add an informative watermark to your imagery Time •10 minutes Skill level •Beginner • Intermediate • Advanced Kit needed • Lightroom 5 WATCH THE VIDEO Online galleries and portfolios provide quick and easy ways to share your images, but your photos are vulnerable to theft on the Internet. By shooting a photo you automatically own its copyright, but once it’s been downloaded and reposted to other sites, prospective clients won’t necessarily know who the photograph belongs to. This might result in a photo being used without anyone crediting or paying you. However, you can digitally assign your copyright and contact details to a photo’s metadata, so that this important information will always be attached…

Nikon School photography workshops cater for every level of photographic ability, whether you are new to taking photographs, a keen amateur or a professional. Nikon School offers a wide range of workshops suited to individuals wanting to learn more about photography or expand their creative horizons. Courses will help you improve your skills, develop your eye for a photo and learn to take control of your camera. Workshops are a mix of easy-to-understand theory and practical assignments. They’re attended by small groups of up to 12 delegates to ensure that everyone can benefit from the expert knowledge of tutors. From understanding your Nikon DSLR and lenses to image editing; from street shots to inspiring landscapes; the school’s workshops cover a variety of skills and subjects. Workshops take place at either…

Our Apprentice says… My next shot was of the engine bay, round the back of the car. We didn’t have to move the car at all – we just moved the camera and the lights. I wanted to include Ferrari logos wherever possible, and luckily this car isn’t lacking in branding! I composed a side-on shot to include the logo on the engine panel, the carbon fibre housing and the prancing horse badge. I noted that we weren’t shining lights directly on the engine bay, but Neil explained: “It’s better to light the white studio backdrop and let that become our main light source. Light is more diffuse if reflected, and also softer, making it ideal for a detail shot like this.” Expert insight Continuous lights Neil says… The ARRI…

Expert insight Details Neil says… Taking note of the unique touches on any product is invaluable for capturing the craftsmanship behind its design and setting your photography apart. Anthony spotted the badge on the side of the car and wanted to take a detail shot. He cropped in tight and made sure there was some reflection on the badge. With some shadows provided by the flared wheel arch, it’s a very flattering image. Our Apprentice says… My Shot of the Day has to be this front-on shot of the car. It screams Ferrari! A low angle, combined with a simple overhead light array (two lights either side, bounced directly off the ceiling), suited this perfectly symmetrical composition. The sharp shadow on the floor complements the car’s angular lines, from the…

To become clearer, graphic echoes usually need a little extra work in framing, timing, viewpoint and focal length Graphic echoes start in the eye and mind of the photographer, and frankly, they may never make it further than that, because recognizing one is only a first step. As I mentioned on the previous page, by definition they are never the main event in a photograph, and so always run the risk of not being noticed, or appreciated, in the same way by other people as by you when you’re shooting. In order to become clearer, they usually need a little extra work in framing, timing, viewpoint, focal length and so on, in order to make them obvious enough. Here, I was in a lane in Mandalay, Myanmar, where sculptors work…

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The contenders SIGMA 100-400mm f/5-6.3 DG OS HSM | C £780/$800 SIGMA 150-600mm f/5-6.3 DG OS HSM | C £790/$1090 TAMRON 150-600mm f/5-6.3 Di VC USD £830/$870 NIKON AF-S 200-500mm f/5.6E ED VR £1250/$1400 SIGMA 150-600mm f/5-6.3 DG OS HSM | S £1330/$2000 TAMRON SP 150-600mm f/5-6.3 Di VC USD G2 £1340/$1400 NIKON AF-S 80-400mm f/4.5-5.6G ED VR £2200/$2300 NIKON AF-S 200-400mm f/4G ED VR II £6100/$7000 Whether you’re shooting wildlife, sports, boats or just about anything else you can’t get close to, it’s frustrating if your zoom lens can’t cover the distance. A zoom range of 70-300mm is fairly standard for telephoto zooms, and on a DX-format Nikon, the 1.5x crop factor bumps the ‘effective’ focal length up to a mighty 450mm, but that can still come up short.…