Innholdsfortegnelse for June 2016 i N-Photo: the Nikon magazine

The new D5 is a game-changer, and here’s why: when Usain Bolt wins the 100m final at this summer’s Olympics (you heard it here first...), it will be able to capture a 21MP image every 8/100th of a second for the entire duration of the race, and it will still have 80 shots left in its buffer capacity for Bolt’s lightning celebrations. Just think about that for a second: think about the hair-splitting detail in every single one of those images, and then times that by 200 – and all that in the time it’s taken to read this sentence. The mind boggles. And what’s more, it will be able to do it in RAW. In the dark. I’ve got no idea how dark it would need to get before…

WATCH THE VIDEO The mission ● To capture a landscape silhouetted against the sky Time ● 30 minutes Skill level ● Beginner ● Intermediate ● Advanced Kit needed ● Nikon D-SLR ● Any lens Plunging a landscape into darkness might not seem like the best idea, as it defeats the point of capturing a view, but if you’ve got colourful or dramatic skies and interesting shapes to work with, silhouettes can be a great option for creating simple, graphic landscapes with bags of impact. Sunset is the perfect time to shoot silhouettes, as this tends to be when skies are at their most colourful, and because you’re shooting a silhouette, you won’t have to worry about balancing the exposure. For this technique to work you need a landscape with graphic…

NEW SERIES! Teach Yourself Flash PART 1 The mission ● To shoot a flattering character portrait using a single flashgun and some craft foam Time ● Ten minutes Skill level ● Beginner ● Intermediate ● Advanced Kit needed ● Nikon D-SLR ● Flashgun Time and time again you’ll hear the same thing: on-camera flash makes your images look flat. To some extent that’s true; the harsh, direct light from oncamera flash eliminates shadows on your subject and gives a clinical look. However, it is possible to achieve a wonderfully soft, diffused light with on-camera flash, as long as you’re using a flashgun. It’s the direct light that makes for dull, flat portraits, so the first thing you need to do is bounce the flash off another surface. By aiming the…

The mission ● To create stunning light spheres Time ● One hour Skill level ● Beginner ● Intermediate ● Advanced Kit needed ● Nikon D-SLR ● Tripod ● Portable LED fairy lights We’re going to show you how to set up your Nikon outside to photograph balls of light that look like mysterious glowing spheres of energy. You can make these energy balls in any landscape and in any weather, but you do need a bit of extra kit to make it happen. We took along some continuous LED lights, our Nikon D-SLR plus lens, and a tripod. If you already have a Nikon and a tripod, this project is a no-brainer. It’s light on your wallet and takes up next to no space in your bag. Most of the…

Mission: To capture memories in the form of photographs Photographer: Lorenzo Nadalini Age: 30 Location: Bologna, Italy Kit: Nikon D800, Nikon AF-S 14-24mm f/2.8G ED, Nikon AF-S 16-35mm f/4G ED VR, Nikon AF-S 24-70mm f/2.8G ED, Nikon AF-S 70-200mm f/2.8G ED VR II Website: https://500px.com/lorenzonadalini At the age of 13 I started to take photos for fun, and back then I also attended my first photography course. Then for some years I abandoned photography, though I couldn’t really tell you why. But I have always maintained a strong sense of observation and interest in the light. Even just walking down the street or in the countryside I would still get excited about sunsets and dramatic lighting. Later in life I started to take pictures again, first with a digital mirrorless…

NEXT MONTH: TELEPHOTO FACE-OFF – PRIME VERSUS ZOOM VERDICT Both lenses deliver excellent image quality. The PC-E lens is pricier, but gives perspective correction and control over depth of field in ways that are simply impossible with a regular lens. That said, you can apply perspective correction in an image-editing program – plus the standard 24mm is less than half the price , making the PC-E option only worthwhile if you shoot a lot of architecture or still-life images.…

Portraiture offers a real test of a photographer’s technical skill, creativity and charisma that sets it apart from other genres of photography. There’s nothing quite like coming away from a portrait shoot knowing you’ve nailed every aspect of the challenge – the camera settings, the lighting, the composition, and the subject’s character. When everything comes together in one harmonious frame, the results can be spectacular. However, anyone who’s tried their hand at portraiture has also probably experienced the crushing disappointment that comes when grumpy subjects, technical slip-ups or misjudged lighting spoil a shot. Both technically and artistically, there’s always plenty to think about on a portrait shoot. And then there’s the other X factor: the connection between the subject and the photographer. But if you can head into a shoot…

The mission ● To correct an image’s white balance using Lightroom Time ● Five minutes Skill level ● Beginner ● Intermediate ● Advanced Kit needed ● Lightroom 5 or above Different light sources produce different colour temperatures, which can affect the colours across a whole photograph. (We explore colour temperature in more depth on page 84.) Your Nikon’s automatic white balance (AWB) setting attempts to get white details in the scene looking white, so that all the other colours will be tint-free. If the whites look too warm (orange), your Nikon will cool them down. If they’re too cold (blue) then it will warm them up. If it balances the whites correctly then the resulting photograph will be tint-free and feature the scene’s true colours The background in our starting…

FREE EBOOK! Teach Yourself RAW in Photoshop IS RAW DEAD? With Nikon’s sensors now bigger and better than ever, do we still need to shoot in RAW? WIRELESS FLASH In Part 2 of our Teach Yourself Flash series, we show you how to use your Speedlight off-camera BRILLIANT PHOTOBOOKS We test and rate photobooks from six different providers PLUS! TRAVEL SPECIAL Tim Peake’s breathtaking images from space On assignment in Fukishima’s no-go zone The best lenses for travel revealed…

Mission: To show people things that they wouldn’t see normally, and make them think about them Photographer: Valerie Leroy Age: 40 Location: Liège, Belgium Kit: Nikon D700, Nikon AF-S 16-35mm f/4G ED VR, Nikon 35mm f/1.8, Nikon AI 50mm f/2 Website: www.valsdarkroom.com Photography has always been something I’ve loved. My father is a keen photographer, and we had a dark room at our house when I was a kid. I learned to shoot with manual cameras and to develop black-and-white photos, which was exciting. When I was about 20 years old I hung out with skateboarders and I would take pictures of them. My love of photography turned into a passion when I started exploring abandoned places. Before I even thought of taking pictures in those locations, my friends and…

WATCH THE VIDEO As well as trying to capture tonal detail in shadows, midtones and highlights, your Nikon also attempts to record a scene’s colours accurately. This is a challenge for your camera: the human eye tends to perceive colours correctly regardless of the time of day, but your camera is more susceptible to changes in the colour temperature of light. For example, natural daylight has a colder colour temperature than artificial tungsten light. This can lead to a photo of an outdoor scene having a blue colour cast. An indoor shot might look too warm. To make matters even more complex, the sun’s colour temperature also changes throughout the day, depending on whether it’s high in the sky or dipping towards the horizon. If you shoot in urban locations,…

8 MAY, 2008 • LONDON, ENGLAND • NIKON D3 Jason Hawkes began his career as an assistant to a studio photographer, but when a UK-based photography magazine published a selection of his images taken from a microlight, he decided to specialise in aerial photography. That was more than 25 years ago. For a long time he was limited to shooting in broad daylight in order to get the crisply focused, high-speed exposures he needed, first on film and then digitally. All that changed with the launch of the Nikon D3: “As soon as I saw its lowlight capability I ordered one.” When Jason finally got his hands on his new Nikon he arranged a twilight flight over London and was immediately impressed by the results: “This shot was taken on…

FX-FORMAT (FULL-FRAME) D-SLR • £5200, $6500 • WWW.NIKON.COM Specifications Sensor 20.8-megapixel FX-format CMOS (EXPEED 5) Crop factor 1x Memory 2x XQD or 2x CF Viewfinder Eye-level pentaprism viewfinder, 100% coverage Video resolution 4K UHD at 30, 25 or 24p; Full HD (1920x1080) at 60, 50, 30, 25 or 24p ISO range 100-102,400 (50-3,280,000 expanded) Autofocus points 153 (99 cross-type; 15 support f/8) Max burst rate 12fps (200 RAW / 200 JPEG) LCD screen 3.2-inch, 2,359,000-dot touch-sensitive LCD with 170-degree viewing angle Shutter speeds 1/8000 sec to 30 secs, Bulb, Timer Weight 1235g (XQD type) 1240g (CF type) Dimensions 160x158x92mm Power supply Li-ion EN-EL18a Battery With the Olympic Games taking place this summer the arrival of the D5 wasn’t a huge surprise, but its top sensitivity expansion setting of ISO3,280,000 caused…

WATCH THE VIDEO The mission ● To explore the effect depth of field has on a portrait Time ● 30 minutes Skill level ● Beginner ● Intermediate ● Advanced Kit needed ● Nikon D-SLR As we all know, aperture affects depth of field: a wide aperture, like f/1.4, will give you a very shallow depth of field, where not much in front of or beyond the focus point is sharp, whereas a narrow aperture like f/16 will give you a much greater depth of field. On any lens you have multiple aperture settings to choose from, and you might find yourself wondering which aperture to use, and which is the best. Put simply, there isn’t one ‘best’ aperture. By following this walkthrough, you’ll soon learn how to decide which aperture…

The mission ● To prevent converging verticals in architecture shots Time ● 30 minutes Skill level ● Beginner ● Intermediate ● Advanced Kit needed ● Nikon D-SLR ● Tripod ● Tilt-shift lens Tilt-shift lenses – Nikon calls them Perspective Control, lenses – have their origins in large-format cameras which feature a lens at one end and a sheet of film or sensor at the other, and a flexible bellows in between that allows both to be moved independently. The lens can be shifted up to include the top of a tall building without having to point it up The advantage of this, at least for architectural photography, is that the lens can be ‘shifted’ so that the sensor covers the top of a tall building without having to tilt the…

The mission ● To colour-pop an image by converting the rest of the shot to black and white Time ● Five minutes Skill level ● Beginner ● Intermediate ● Advanced Kit needed ● Photoshop Elements 13 or above Elements 13 has three guided edits that enable you to make all, or part, of your image black and white. Spot colour effects like this used to involve complicated masking and adjustments, but the process has been simplified in Elements 13 so that even the most inexperienced user can pop one or more colours in their image. There are three guided pop-colour effects to choose from: B&W Colour Pop; Black and White Selection; and Black and White. They’re found within the Guided mode under the Photo Effects panel. The first option, B&W…

EXPOSURE 4 secs, f/8, ISO200 LENS Nikon AF-S 14-24mm f/2.8G ED Expert insight Coffee o’clock Jeremy says… One of the most important things in architectural photography, besides the subject, is the lighting. It’s hard to predict the weather, and impossible to control it, so timing is everything. By arriving early the next morning for her Shot of the Day (above), Polly had time to set her camera up, get the composition sorted and then wait for the right light. Sometimes you get on location and realise the light won’t be right for an hour or so; I call this coffee o’clock! Polly and I grabbed a coffee while waiting for the sun to rise before going back out to our chosen spot and nailing the Shot of the Day. Be…

YOUR PROJECTS CRITIQUED About two years ago I started taking my photography more seriously. I love creating conceptual photos; it’s a great pity that not everybody understands the ideas that we try to convey as conceptual photographers, but I keep shooting anyway, for myself. Each photo reflects my state of mind at the time, and psychology plays a big part in my photography. The photo ‘One of us’ [2] makes me think about the person I miss the most. When I created this image I was trying to encapsulate that feeling I have when I miss someone. The image works well for me, because I’ve removed any clutter in the background – it’s quite plain. Similarly, in the image ‘Green Forest’ [3], I wanted to evoke the feeling of loneliness.…

Our globetrotting Contributor at Large, renowned photographer and prolific author Michael Freeman, presents a monthly masterclass that’s exclusive to N-Photo. Michael has published dozens of books on photography, including the bestselling Perfect Exposure. INTRODUCTION Capturing scale There are lots of techniques for conveying a sense of scale in your images, or for manipulating scale to add interest Size matters. Well, at least some of the time it does, and photography has a special relationship with showing how big, or small, things are. That’s because the camera is so good at recording scenes and situations with great accuracy – except for the third dimension. Much of the time we don’t think of this as an issue, because as viewers we’re thoroughly used to taking clues from the scene inside the frame…

Most of Nikon’s latest D-SLRs boast highresolution sensors of at least 24 megapixels. The D810 pushes the boat out further, with its whopping 36.3 megapixels. To make the most of all those megapixels, you need lenses that deliver pin-sharp detail. Nikon has an excellent reputation for making high-quality lenses as well as camera bodies, ensuring a perfect match. Even so, some lenses are better than others, so which ones are the best for capturing the sharpest possible image? Conventional wisdom dictates that if you want the best image quality, you should go for prime lenses rather than zooms. While this was true in the past, with computer-aided design and manufacturing processes high-quality zooms have caught up, and may even exceed the performance of some primes when it comes to out-and-out…