Wedding Photography

Nikon D700 Review

2009-02-26T12:10:00.000-08:00

Nikon D700 Review

The introduction of Nikon's new D700 may have been one of the worst kept secrets in an industry with more leaks than the Titanic, but it was still something of a surprise coming so hot on the heels of the D3 and D300. Essentially a D3 shrunk down and squeezed into a body roughly the same size as a D300, the D700 is Nikon's first 'compact' professional SLR, and in its segment of the market will compete with the recently announced Canon EOS 5D Mark II and Sony DSLR-A900.

The imaging side of the D700 is pretty much the same as the D3; it shares the acclaimed 12.1MP full frame ('FX') sensor and has the same processing engine, so we would presume output to be almost identical. The main differences (aside from being considerably smaller) are physical; there's a different shutter (good for 150,000 exposures rather than 300,000 on the D3), different viewfinder prism (with 95% coverage) and a slower burst rate. You also lose the rear LCD info panel (there's no room for it) and one of the D3's two CF card slots, but you do get a couple of extra features to soften the blow slightly; most notably a self-cleaning sensor and a built-in flash. We'll look a little more in-depth at the differences between the D3 and D700 in a moment.

The D700 joins the D3 as a fully-fledged 'professional' model; it has the same tank-like build quality (though we're sure the pop-up flash will cause a few raised eyebrows), and gets you the full pro service from Nikon. And the pricing (around $2999) reflects this; anyone hoping for an 'affordable' semi-pro full frame Nikon SLR will have to wait until the cost of producing such large sensors falls considerably.

Nikon D700 Key Features

12.1 megapixel full-frame sensor (8.45µm pixel pitch)
Image Sensor Cleaning (vibration) *
ISO 200 - 6400 (with boost up to ISO 25600 and down to ISO 100)
Also supports DX lenses, viewfinder automatically masks (5.1 megapixels with DX lens)
14-bit A/D conversion, 12 channel readout
Same ultra-fast startup and shutter lag as D3
Nikon EXPEED image processor (Capture NX processing and NR algorithms, lower power)
New Kevlar / carbon fibre composite shutter with 150,000 exposure durability *
Multi-CAM3500FX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage)
Auto-focus tracking by color (using information from 1005-pixel AE sensor)
95% coverage, 0.72x magnification viewfinder *
Auto-focus calibration (fine-tuning), fixed body or up to 20 separate lens settings
Scene Recognition System (uses AE sensor, AF sensor)
Picture Control image parameter presets
5 frames per second continuous with auto-focus tracking*
Optional MB-D10 Battery Pack (same as D300), increases burst rate to 8 fps *
UDMA compatible single CF card slot *
3.0" 922,000 pixel LCD monitor
Live View with either phase detect (mirror up/down) or contrast detect Auto Focus
Virtual horizon indicates if camera is level (like an aircraft cockpit display)
HDMI HD video output
'Active D-Lighting' (adjusts metering as well as applying D-Lighting curve)
Detailed 'Control Panel' type display on LCD monitor, changes color in darkness
Magnesium alloy body with connections and buttons sealed against moisture
Improved Info display on main screen *

* Different to D3

Nikon D700 vs D3: Key Differences

Although the D3 and D700 are essentially the same camera in a different form factor (the D700 being far closer to the D300 in design and control layout), there are a few important specification differences.

Smaller, lighter body *
Built-in iTTL flash (G.No 17 / ISO 200)
No rear information panel (new info display on main LCD)
D700 doesn't have the D3's 5:4 aspect ratio option
95% coverage, 0.72x viewfinder (D3: 100% / 0.7x)
Focus screen DX mode now indicated with a rectangle rather than shaded area
Lower burst rate (5.0 fps / 8.0 fps with optional MB-D10)
100 frames maximum in continuous shooting mode
Smaller battery (EN-EL3e)
Optional battery grip (MB-D10, same as D300)
Expanded Function button options (can assign any camera menu item)
Live View can be assigned to FUNC, AE-L or Preview buttons (allowing LV + different drive modes)
Virtual Horizon can be overlaid on Live View preview image
Different shutter (150,000 cycle rating - same as D300)
Image Sensor cleaning ('sensor shake' dust reduction)
Single CF slot (D3 has two)
Minor menu and control differences (control layout is almost identical to D300)

* D700 is approx 34mm (1.3 in) shorter, 13mm (0.5 in) narrower and 10mm (0.4 in) shallower.
Weight (no battery) : D3 - 1240g, D700 - 995g

The D700 in the Nikon line-up

The table below shows how the D700 squeezes into the Nikon DSLR line-up, between the APS-C D300 and the full-frame D3.

	Nikon D300	Nikon D700	Nikon D3
Price (body only)	$1800 [check]	$2999[check]	$5000 [check]
Dust removal	• Self-cleaning filter • Dust-off image	• Self-cleaning filter • Dust-off image	• Dust-off image
Sensor size	23.6 x 15.8 mm	36 x 23.9 mm	36 x 23.9 mm
Effective pixels	12.3 million	12.1 million	12.1 million
FOV crop	1.5x	1x	1x
Sensitivity range (boost setting)	(100), 200 - 3200, (6400)	(100), 200 - 6400, (25,600)	(100), 200 - 6400, (25,600)
Shutter life	150,000 exposures	150,000 exposures	300,000 exposures
Continuous rate (high)	6.0 fps (8.0 fps with battery grip)	5.0 fps (8.0 fps with battery grip)	9.0 fps (11 fps in DX crop mode)
Continuous buffer	• 100 JPEG Norm • 17 RAW	• 100 JPEG Norm • 17 RAW	• 130 JPEG Norm • 17 RAW
Built-in flash	• Manual pop-up • Guide no. 12 (ISO 100)	• Manual pop-up • Guide no. 12 (ISO 100)	None
Storage	CF (inc. UDMA)	CF (inc. UDMA)	CF (inc. UDMA) x2 slots
Viewfinder	• 100% coverage • 0.94x magnification	• 95% coverage • 0.72x magnification	• 100% coverage • 0.7x magnification
Top panel LCD	Yes	Yes	Yes (plus rear info panel below screen)
Battery	11.1 Wh	11.1 Wh	27.75 Wh
Vertical grip	Yes, MB-D10	Yes, MB-D10	Built in
Dimensions	147 x 114 x 74 mm (5.8 x 4.5 x 2.9 in)	147 x 123 x 77 mm (5.8 x 4.8 x 3.0 in)	160 x 157 x 88 mm (6.3 x 6.2 x 3.4 in)
Weight (no batt)	825 g	995 g	1240 g
Weight (inc batt)	903 g	1075 g	1420 g

Nikon D300 In-depth Review

2009-02-26T12:07:00.000-08:00

Nikon D300 In-depth Review

Just under two years since the D200 Nikon reveals the D300, the range of changes is so significant that it wouldn't be inappropriate to call it a 'compact D3' (less the full-frame sensor of course). From the top there's a new CMOS sensor with twelve megapixels, a new auto-focus sensor with 51-points (15 of which are cross-type sensitive), there's focus tracking by color, scene recognition, Picture Control presets, six frames per second continuous shooting (or eight frames per second with a battery pack), Compact Flash UDMA support, Live View (with contrast detect AF) and the mighty impressive 3.0" 922,000 pixel LCD monitor (oh and HDMI video output). It's an impressive list, the D200 was a fair step up from the D100, the D300 can be seen as just as big a step, certainly more than enough to make the competition sweat.

Model line history

Model	Announced	Effective pixels	Auto focus	Continuous highest (JPEG)	LCD monitor
D100	Feb 2002	6.0 mp	5 point	3.0 fps, 6 frames	1.8", 120K pixels
D200	Nov 2005	10.2 mp	11 point	5.0 fps, 37 frames	2.5" 230K pixels
D300	Aug 2007	12.3 mp	51 point	6.0/8.0 fps, 100 frames	3.0" 922K pixels + Live View

Nikon D300 Key Features

12.3 megapixel DX format CMOS sensor
Self-cleaning sensor unit (low-pass filter vibration)
ISO 200 - 3200 (6400 with boost)
14-bit A/D conversion
Nikon EXPEED image processor (Capture NX processing and NR algorithms, lower power)
Super fast operation (power-up 13 ms, shutter lag 45 ms, black-out 100 ms)
Shutter life 150,000 exposures
New Multi-CAM3500DX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage)
Auto-focus tracking by color (using information from 1005-pixel AE sensor)
Auto-focus calibration (fine-tuning) now available (fixed body or up to 20 separate lens settings)
Scene Recognition System (uses AE sensor, AF sensor)
Picture Control image parameter presets (replace Color Modes I, II and III)
Custom image parameters now support brightness as well as contrast
Six frames per second continuous shooting (eight frames per second with battery pack)
Compact Flash UDMA support
3.0" 922,000 pixel LCD monitor
Live View with either phase detect (mirror up/down) or contrast detect Auto Focus
HDMI HD video output
'Active D-Lighting' (adjusts metering as well as applying D-Lighting curve)
Detailed 'Control Panel' type display on LCD monitor, changes color in darkness
New MB-D10 vertical grip fully integrates into body, multi battery type compatible
Buttons sealed against moisture

Nikon D300 vs. D200 feature and specification differences

	Nikon D300	Nikon D200
Sensor	• 12.3 million effective pixel CMOS • DX format	• 10.2 million effective pixel CCD • DX format
A/D converter	14-bit	12-bit
Image processor	Nikon EXPEED	Unspecified
Image sizes	• 4288 x 2848 • 3216 x 2136 • 2144 x 1424	• 3872 x 2592 • 2896 x 1944 • 1936 x 1296
RAW files	NEF / Compressed NEF 14-bit	NEF 12-bit
TIFF files	Yes	No
Dust reduction	Self-cleaning sensor unit	No
Auto focus	• 51-point Multi-CAM 3500DX • 15 cross-type sensors • Contrast detect in Live View mode	• 11-point Multi-CAM 1000
Focus tracking by color	Yes	No
AF area mode	• Single point AF • Dynamic Area AF [9 points, 21 points, 51 points, 51 points (3D-tracking)] • Automatic-area AF	• Single Area AF • Dynamic AF with Focus Tracking and Lock-on • Group Dynamic AF • Closest Subject Priority Dynamic AF
Sensitivity	• Default: ISO 200 - 3200 • Boost: ISO 100 - 6400 • 1/3, 1/2 or 1.0 EV steps	• Default: ISO 100 - 1600 • Boost: Up to ISO 3200 • 1/3, 1/2 or 1.0 EV steps
Continuous shooting	• With built-in battery: up to 6 fps • With AC adapter or MB-D10 pack and batteries other than EN-EL3e: up to 8 fps	5 fps
Image Parameters	• Picture Control (4 presets) • Sharpening • Contrast • Brightness • Saturation • Hue	• Presets (6 presets) • Sharpening • Tone • Color mode • Saturation • Hue
Active D-Lighting	Yes (also adjusts exposure)	No
Viewfinder	100% frame coverage	95% frame coverage
LCD monitor	• 3.0 " TFT LCD • 922,000 pixels	• 2.5 " TFT LCD • 230,000 pixels
LCD Live View	• Handheld mode (phase detect AF) • Tripod mode (contrast detect AF)	No
Compact Flash	Type I / II (UDMA support)	Type I / II
Vertical grip	MB-D10	MB-D200
Video output	HDMI (HD)	Composite (SD)
Menu languages	14	13
Dimensions	147 x 114 x 74 mm (5.8 x 4.5 x 2.9 in)	147 x 113 x 74 mm (5.8 x 4.4 x 2.9 in)
Weight (no batt)	825 g (1.82 lb)	830 g (1.8 lb)

Nikon D200 Review

2009-02-26T12:05:00.000-08:00

Nikon D200 Review

The Nikon D200 was announced on 1st November 2005, some three and a half years since Nikon revealed their first prosumer digital SLR, the D100. It's fair to say however that the D200 is a completely different beast altogether, it shares far more with its 'bigger brother' the the D2X than its earlier namesake. The D200 has the robust build quality of the D2X, a 10.2 million pixel CCD sensor and a compact design more like the D100. Just as the D100 the D200 has a CCD sensor, unlike the D2X which utilized a CMOS sensor. It's clear that this camera is aimed at the same kind of market as the recently announced Canon EOS 5D. From a features, control and performance point of view the D200 is closer to the D2X than any other model.

Compared to the Nikon D100, major feature and specification differences

Three years is a long time in the digital photography industry, a lot has changed since the D100, so treat the table below as a summary of the major changes. The most immediately noticeable however is the build quality, the D200 feels like a professional tool.

	Nikon D200	Nikon D100
Body	• Magnesium alloy • Body seams sealed	High-impact plastic
Sensor	• 23.6 x 15.8 mm CCD (DX format) • 10.2 million effective pixels	• 23.7 x 15.6 mm CCD (DX format) • 6.1 million effective pixels
Image sizes	• 3872 x 2592 [L] • 2896 x 1944 [M] • 1936 x 1296 [S]	• 3008 x 2000 [L] • 2240 x 1488 [M] • 1504 x 1000 [S]
File formats	• RAW (compressed / uncompressed) • JPEG (3 levels)	• RAW (compressed / uncompressed) • TIFF • JPEG (3 levels)
Auto focus	• 11/7 area TTL • Multi-CAM 1000	• 5 area TTL • Multi-CAM 900
AF area mode	• Single Area AF • Continuous Servo AF • Group Dynamic AF • Closest Subject Priority Dynamic AF	• Single Area AF • Closest Subject Priority Dynamic AF
Metering	• 3D Color Matrix Metering II • 1005 pixel CCD	• 3D Matrix Metering • 10 segment sensor
Sensitivity	• ISO 100 - 1600 • Up to ISO 3200 with boost	• ISO 200 - 1600 • ISO 3200 & 6400 with boost
Shutter speed	• 30 - 1/8000 sec • 1/250 sec X-Sync speed	• 30 - 1/4000 sec • 1/180 sec X-Sync speed
AI aperture ring	Yes	No
Continuous	• 5 fps • 37 / 22 frames (JPEG / RAW)	• 3 fps • 6 / 4 frames (JPEG / RAW)
White balance	• Auto • Six presets • Manual preset (four) • Kelvin temperature • Fine tunable	• Auto • Six presets • Manual preset (one) • Fine tunable
Image params	• Six preset looks • Sharpening: Auto, 6 levels • Tone: Auto, 3 levels, Custom • Color: 3 modes • Saturation: Auto, 3 levels • Hue: -9° to +9°	• Sharpening: Auto, 4 levels • Tone: Auto, 3 levels, Custom • Color: 3 modes • Hue: -9° to +9°
Viewfinder	• Eyepoint 19.5 mm • Frame coverage 95% • Magnification approx. 0.94x • B-type Bright View Clear Matte II	• Eyepoint 24 mm • Frame coverage 95% • Magnification approx 0.8x • B-type Bright View Clear Matte II
LCD monitor	• 2.5 " TFT LCD • 230,000 pixels • Removable protective cover	• 1.8" TFT LCD • 120,000 pixels • Removable protective cover
Memory banks	• 4 x Shooting • 4 x Custom functions	• 2 x Shooting • 2 x Custom functions
Timelapse	Yes	No
Remote	10-pin remote terminal	With battery pack (optional)
GPS	Yes, NMEA 0183 with optional cable	No
Wireless	Yes, optional WT-3 transmitter	No
USB	USB 2.0 Hi-Speed	USB 1.1
Battery	Lithium-Ion EN-EL3e (7.4 V, 1500 mAh)	Lithium-Ion EN-EL3 (7.4 V, 1400 mAh)
Battery status	• Remaining charge (%) • No. of shots taken since last charge • Battery life (5 stage)	3 level on LCD panel
Vertical grip	MB-D200	MB-D100
Dimensions	147 x 113 x 74 mm (5.8 x 4.4 x 2.9 in)	144 x 116 x 81 mm (5.7 x 4.6 x 3.2 in)
Weight (no batt)	830 g (1.8 lb)	700 g (1.5 lb)

Nikon D100 Review

2009-02-26T11:54:00.000-08:00

Nikon D100 Review

The D100 enters that new segment of the digital camera market which was created when Canon released the EOS-D30. It's the middle ground between the high end $1,000 prosumer digital cameras and professional D-SLR's. This years PMA saw the announcement of no less than four new D-SLR's all aimed at that $2,000-$3,000 segment. It's still pretty amazing to think that you can now pick up a six megapixel D-SLR for around $2,000.

Since this article was first published as a preview Canon, Fujifilm and Nikon have announced their pricing. The Canon EOS-D60 full kit weighs in at $2,199, the Fujifilm S2 Pro at $2,399 and the Nikon D100 at $1,999.

The D100 has a six megapixel sensor, a body loosely based on the F80 (although Nikon are keen to note that it shares only some of its components with that camera), a Nikon F mount and a set of features which make it an extremely attractive and capable proposition.

Nikon D100 Major Features

This list, supplied by Nikon Europe

6.1 effective megapixels rendering 3,008 x 2,000-pixel images
Compact and lightweight (weighs approx. 700g/24.7 oz.)
Low-noise CCD sensor
3D Digital Matrix Image Control for precise exposure control, adaptive auto white balance and optimal color accuracy
High-performance built-in Speedlight with D-TTL flash control
Three color modes offered for different workflow environments
Five-Area Autofocus with Dynamic AF operation
High-speed image processing provided by new one-chip system LSI
Top shutter speed of 1/4,000 sec. and flash sync speed up to 1/180 sec.
Plug-and-play USB 1.1 interface for quick computer connection
On-Demand Grid Lines can be displayable in viewfinder
Custom Settings can be selectable in the LCD monitor
Compatible with CompactFlash™ cards Type I and Type II including 512 MB / 1 GB IBM MicroDrive™
Nikon View 5.1 software (supplied) enables easy transfer and viewing of images on your computer also includes rudimentary RAW file manipulation and conversion
Optional Nikon Capture 3 software for excellent image management and remote operation
Optional Multi Function Battery Pack MB-D100 accepts six 1.5V LR6 (AA-size alkaline) batteries or one or two Li-Ion batteries for extended shooting capability. Features voice memo recording/playback function, vertical shutter release button, Command and Sub Command Dials, AF start button and a 10-pin remote terminal

Whose sensor is it anyway?

About a week before Nikon revealed the D100, Sony announced an APS sized six megapixel sensor. Putting two and two together (and considering the specs are identical) it's been fairly easy to ascertain that Nikon is using Sony's six megapixel sensor in the D100. In the picture on the right (from Sony's press release) you can see the size of the six megapixel CCD compared to a standard consumer digital camera 1/1.8" CCD.

In that announcement Sony revealed the specifications of this particular CCD:

Optical Format	1.8" / diagonal 28.4 mm (APS sized)
Aspect Ratio	3:2
Colour filters	Primary GRGB (Bayer Mosaic)
Transfer method	Interline frame readout (requires mechanical shutter)
Total number of pixels	3110 x 2030 (6.31 million)
Number of effective pixels	3032 x 2016 (6.11 million)
Active pixels	3000 x 2000 (6 million square pixels)
Active imager area	23.4 x 15.6 mm
Unit cell size	7.8µm x 7.8µm
Optical black	Horizontal: Front 20 pixels, Rear 50 pixels Vertical: Front 4 pixels, Rear 2 pixels
Saturation signal	900 mV
Smear	-80 dB
Frame rate	3.06 fps (single channel mode) 5.09 fps (dual channel mode)

Nikon D90 Review

2009-02-26T11:49:00.000-08:00

Nikon D90 Review

Almost exactly two years after the D80 was announced comes its replacement, the rather predictably named D90. The D80 has been one of Nikon's quiet successes, and even today, despite being positively Methuselah-like in digital camera terms it continues to sell and often makes its way into our top 10 most clicked on cameras. Because it looks so similar to the D80 the D90 appears at first glance to be one of those rather subdued incremental upgrades, but dig a little deeper and you'll find there's plenty to keep Nikon fans happy.

First and foremost there's a new CMOS sensor, which Nikon claim produces D300 quality output at up to ISO 6400 and - one of several features to 'trickle down' from higher models - the same highly acclaimed 3.0-inch VGA screen as the D3/D300. Naturally it has Live View with contrast-detect AF and it would have been surprising had it not sported some form of dust removal system. More surprising is the inclusion of the world's first DSLR movie mode (720p HDTV quality, no less) and HDMI output, though as we'll see later it does come with some limitations. A lot of the core photographic spec is the same as or very similar to the D80, though there is a new shutter and an implementation of the 3D tracking AF seen on the D3/D300.

And it's not just the high end models that have lent features and technology to the D90; the user interface has been given the same user-friendly treatment as the D60, as have the retouching options. As it was explained to us the D90 is intended to appeal to the broadest audience of any Nikon SLR, from first-time 'step up' customers moving from a compact to serious amateurs wanting comprehensive photographic control without the cost and weight of a D300. Whether the D90 is as capable as its feature set suggests, we'll see as the review unfolds.

Nikon D90 Key Features

12.9 megapixel DX-format CMOS sensor (effective pixels: 12.3 million)
3.0-inch 920,000 pixel (VGA x 3 colors) TFT-LCD (same as D3 and D300)
Live View with contrast-detect AF, face detection
Image sensor cleaning (sensor shake)
Illuminated focus points
Movie capture at up to 1280 x 720 (720p) 24 fps with mono sound
IS0 200-3200 range (100-6400 expanded)
4.5 frames per second continuous shooting (buffer: 7 RAW, 25 JPEG fine, 100 JPEG Normal)
Expeed image processing engine
3D tracking AF (11 point)
Short startup time, viewfinder blackout and shutter lag
Slightly improved viewfinder (96% frame coverage)
Extensive in-camera retouching including raw development and straightening
Improved user interface
New optional compact GPS unit (fits on hot shoe)
Same battery and vertical grip as D80
Vignetting control in-camera
72 thumbnail and calendar view in playback

Nikon D90 vs D80: Key Differences

Although it's had a bit of a design refresh with slightly sharper lines, the D90 is externally very similar to its predecessor (dimensions are identical, though it is heavier). Looking at the differences it's obviously a solid incremental upgrade rather than a total reinvention of the popular D80, with several key improvements (most importantly the sensor and screen) and a welcome smattering of must-have 2008 features (live view, dust removal). Oh yes, and of course there's that one little new feature sitting at the back of the classroom with its hand waving in the air, shouting 'Sir! Sir!'; the 'world's first' DSLR movie mode.

12.3 MP CMOS sensor (D80: 10.2 MP CCD)
Dust removal system
Bigger, better screen (as D3, D300)
Live View with contrast detect AF
Movie Mode
Wider ISO range, upgraded AF system (3D tracking, face detection)
Active D-Lighting, vignetting control and extra retouching options
Automatic chromatic aberration correction
Picture Control presets
Faster continuous shooting and larger buffer
Pictmotion slideshows

Compared to the Nikon D80, major feature and specification differences

As you can see from the table below the D90 carries some quite significant improvements compared to the D80.

	Nikon D90	Nikon D80
Sensor	• 12.3 million effective pixels • 23.6 x 15.8 mm CMOS (DX format)	• 10.2 million effective pixels • 23.6 x 15.8 mm CCD (DX format)
Image sizes	• 4,288 x 2,848 (12 MP) • 3,216 x 2,136 • 2,144 x 1,424	• 3872 x 2592 (10.0 MP) • 2896 x 1944 • 1936 x 1296
Sensor cleaning	• Image Sensor Cleaning • Image Dust Off reference data (optional Capture NX 2 software required)	• Image Dust Off reference data (optional Capture NX software required)
Autofocus	• 11 area TTL • Nikon Multi-CAM1000	• 11 area TTL • Nikon Multi-CAM 1000
Lens servo	• Single-servo AF (AF-S) • Continuous-servo AF (AF-C) • Automatic AF-S/AF-C (AF-A) • 3D Tracking AF (11 points) • Manual focus (M)	• Single-servo AF (AF-S) • Continuous-servo AF (AF-C) • Automatic AF-S/AF-C (AF-A) • Manual focus (M)
Sensitivity	• ISO 200 - 3200 • ISO 100-6400 with boost	• ISO 100 - 1600 • Up to ISO 3200 with boost
Built-in flash	Guide number 17 (ISO 200)	Guide number 13 (ISO 100)
Active D-lighting	Can be selected from Auto, Extra high, High, Normal, Low, or Off	No
Continuous	• 4.5 fps • 23 / 6 frames (JPEG / RAW)	• 3 fps • 23 / 6 frames (JPEG / RAW)
White balance	• Auto • 6 presets • Kelvin color temperature • Manual preset (immediate or from photo)	• Auto • 6 presets • Kelvin color temperature • Manual preset (immediate or from photo)
Image presets	• Standard • Neutral • Vivid • Monochrome • Landscape • Portrait • Storage for up to nine custom Picture Controls	• Normal • Softer • Vivid • More Vivid • Portrait • B&W
Viewfinder Frame coverage	• Approx. 96%	• Approx. 95%
LCD monitor	• 3.0" TFT LCD • 920,000 pixel TFT (RGB x 3 colors) • 170 degree viewing angle • Removable protective cover	• 2.5" TFT LCD • 230,000 pixel TFT • 170 degree viewing angle • Removable protective cover
Dimensions	132 x 103 x 77 mm (5.2 x 4.1 x 3.0 in)	132 x 103 x 77 mm (5.2 x 4.1 x 3.0 in)
Weight	• No battery: 620 g (1.4 lb) • With battery: 703 g (1.6 lb)	• No battery: 585 g (1.3 lb) • With battery: 668 g (1.5 lb)

Image processing engine	• Expeed • 12 bit	• New for D80 • Based on D200 / D2X • 12-bit algorithms, 2-channel
In-camera retouching	• D-Lighting • Red-eye reduction • Trimming • Monochrome & filter effects • Color balance • Small picture • Image overlay • NEF (RAW) processing • Quick retouch • Straighten • Distortion control • fisheye	• D-Lighting • Red-eye reduction • Trimming • Overlay • Monochrome and Filter • Small picture • Image overlay
Movie mode	Yes	No
Live View	Yes	No
Others	• Scene Recognition System • Face Detection • Calendar Display • New information display on main LCD • Vignetting control in-camera

Nikon D80 Review

2009-02-26T11:45:00.000-08:00

Nikon D80 Review

Two and a half years ago Nikon announced the six megapixel D70, their first affordable enthusiasts digital SLR, it proved to be a very popular camera and strong competitor to the Canon EOS 300D (Digital Rebel). Just fifteen months later Nikon revealed the D70s which was essentially the same camera with a some subtle tweaks (improved AF, wider flash coverage, higher capacity battery, larger LCD monitor). And so just over fifteen months on from the D70s Nikon present the latest incarnation of their 'enthusiasts' digital SLR line, the ten megapixel D80.

The D80 slots nicely between the entry-level D50 and the semi-professional / professional D200, clearly based on the D70 design but also different enough to be seen as a completely new model. It features a ten megapixel DX format CCD (the same we presume as used by Sony in the DSLR-A100), the metering sensor from the D50 and numerous other items taken or modified from the D200.

In our original review a mistake was made in the measurement of the ISO sensitivity of the Canon EOS 400D as used for comparison, this has now been corrected and the releveant pages of this review updated.

Key features

10.2 megapixel DX format CCD (1.5x FOV crop)
Image processing engine (similar to D200 / D2X)
3D Color Matrix Metering II, 420 pixel sensor (same as D50)
11-area AF system (new version of Multi-CAM 1000, similar to D200)
Custom Auto ISO (selectable maximum ISO, minimum shutter speed)
Configurable high ISO and long exposure noise reduction
Mechanical only shutter (maximum 1/4000 sec, flash sync to 1/200 sec)
Quoted 80 ms shutter lag (short viewfinder blackout; 160 ms)
Larger, brighter pentaprism viewfinder (x0.94 magnification)
Support for SD-HC (SD cards over 2 GB in capacity)
In-camera retouching
- D-Lighting (shadow / highlight enhancement)
- Red-eye reduction
- Trimming
- Monochrome
- Filter effects
- Small picture
- Image overlay
Multiple-exposures
Compact body (smaller, lighter than D70/D70s)
Improved menu user interface (same as D200)
Higher capacity EN-EL3e battery (provides detailed information, same as D200)
Wireless flash integration (same as D200)

Steps to Lots of Great Shots from One Window Location

2008-12-26T00:36:00.000-08:00

Steps to Lots of Great Shots from One Window Location

You’ve done your homework. You’ve gathered your research. You’ve scouted out your locations.

The big day is here, and the pressure is on.

What now?

Above all else, make it your goal to pace yourself. Your mind will be whirling a million miles an hour thinking through every piece of information you’ve gathered into your mind. How do you perform with intensity and keep yourself from going crazy?

I am going to walk you through one system that will eliminate stress and give you the confidence you need to produce a remarkable “first wedding” portfolio.

Write this down:

One window = Multiple shots

Too often novice wedding photographers operate on the idea that varied shots are captured only by varied locations. This is simply not true! Don’t fall into this trap! One well-lit window can provide a plethora of beautifully varied shots to satisfy both you and the bride.

How can one window be the key to your wedding photography success? One simple word: Light. At the center of a great wedding photographer’s work is his or her ability to find and work with the available light in each venue. With Church’s or community centers being the venue of choice for soft and romantic wedding ceremonies, these locations are also infamous for low lighting challenges. Window light can offer a superb solution to even the worst lit wedding venues.

5 Steps to Lots of Great Shots from One Window Location

Step 1 – The Location

Find a window of choice. You’re looking for a window that is relatively large, preferably with curtains, and has an outlook to a grassy area. If you are deliberate in your selection, you can create up to 8 dynamic and fresh shots with minimal set up.

Step 2 – The Details

Inside, set up your detail shots. You will want a table near the window, and different cloth textures for your background; you can use toile, lace, bridesmaid’s dresses etc. At this time, you can photograph the shoes, the ring, and any other important details on your shot list. Consider a few variables that will affect the outcome of your shots: 1) The available light from the window; 2) The distance your object is from the window, and 3) The angle of your camera to the object. Adjust any of these changeable and your shot will change as well.

Step 3 – The Dress

One of the most important shots you must capture is the special dress of the bride. After you’ve taken appropriate time photographing the bride as she does her hair and makeup, borrow the brides dress. Carefully affix the hanger at the top of the window. If the lip of the window is not wide enough, find a tack to place at the top of the window, suspend the ribbon from the tack, and hang the dress from the ribbon. The window light will create a luminous glow around the dress for beautiful highlighting.

Step 4 – The Portraits Inside

There is nothing more perfect for wedding portraits than window light. A window will provide several options for dynamic portrait backgrounds. Inside you can get a wide-angle shot of the bride in her dress with the window in the background. You can also get a few close up shots of the brides face.

Step 5 – The Portraits Outside

If your window has a lot of variety (ie, panes, curtains, sheers) you can take some beautiful shots from inside the window looking outside. This will ad a lot of artistic interest - just be sure to watch your backgrounds! Also, from the outside, you can use your window as a background for more shots of the bride or bride and groom together.

Take my advice: With the “One window = Stellar shots” equation, you will never again worry about having wedding location define your images. Ready to start shooting? Go!

Stepping in to Wedding Photography

2008-12-26T00:32:00.000-08:00

Stepping in to Wedding Photography

Wedding Photography is unique among all other photography mediums. As a professional photographer you have free reign over an incredible event full of emotion, action and beauty. Being able to use your skills to capture these moments forever, and have them be cherished by your clients is an honor wedding photographers take very seriously. It isn’t for the faint of heart. The pressure is as high as the clients expectations, but it can be a very rewarding occupation. For these reasons, wedding photography is quite a competitive field.

With camera equipment simultaneously rising in capabilities and dropping in prices, it means more and more photographers have been able to make the leap from enthusiast to professional. For those already established in the industry, they might resent the added competition and the downward pressure on prices, but for those photographers who have what it takes, now more than ever are opportunities to start the transition into becoming a true professional photographer. In this article I identify 5 things you can do now to prepare yourself to make the leap.

1. Analyzing the Aesthetics

Start comparing your pictures with those of established photographers. Professionals want their work to be seen and are constantly sharing their favorite images. Take advantage of this wonderful free source of knowledge. Scour both web and print sources and learn from the best. In analog style, I recommend starting a physical scrapbook of images you like. Get a few of the jumbo wedding magazines and start ripping it apart. Look for poses and techniques that you’d like to learn to duplicate. If you are more computer oriented, I find having a folder of great pictures I’ve stumbled on a valuable reference. Don’t worry if the pictures seem beyond your level. This will be a process and you’ll advance to higher levels in due time.

Things I look for in photographs:

Lighting - Pay attention to the quality (harsh/soft), angles, and colors of light used.
Posing - Posing can be a difficult skill to learn. Some will utilize actual posing more than others depending on your style. As a skill, it can be learned and there is nothing wrong with mimicking poses you’ve see in others work. Remember, artists have been duplicating the human figure for as long as there has been art, so chances are you aren’t stealing a style from anyone still living.
Capturing the “moment” - Look for the photographs that capture the beautiful simple moments of a wedding day. Often I shoot random happenings that otherwise seem unimpressive, but being able to take photographs that are natural and full of emotion make great and memorable pictures. As easy as this sounds, it takes a keen eye and a quick hand to avoid missing the fleeting moments. This is a must have skill as clients now increasingly seeking out that “wedding photo-journalist” style photography. A little harsh but still an informative read is this article from the well known WPJA on capturing “moments”.

2. Getting the Gear

Invest in high quality glass. Many photographers put excessive weight in the camera body, when the truth is, as a professional photographer you have to expect your camera body to be obsolete in as little as 3 years. Not a pleasant reality. The flip side of the coin is that a good lens will hold its value almost indefinitely. Some lenses have even been known to increase in value. Start slow but buy the good stuff. Your safest bet is to stick with the major manufactures and avoid zoom lenses with constantly varying apertures. Choose lenses that allow you to lock down the aperture to at least a wide f/2.8. Don’t pass out at the total price of your complete kit, instead, build it piece by piece.

3. Building your Portfolio…NOW!

Building a wedding portfolio can be a challenge. Many fine art photographers with incredible skill find it difficult to make the switch into wedding photography simply because their portfolio lacks wedding images. To move past this hurdle you may have to volunteer yourself as a wedding photographer for friends and family. Start getting word out of your ambitions and opportunities will come. If your invited to a wedding, don’t leave your camera at home. Another option is to attend a wedding photography workshop where live models are brought in (often in wedding gowns) for you to practice your techniques on. These are fine to use in your portfolio in the beginning but should be transitioned out as you build a quality gallery of your own unique shots. It’s important that early on you set up some sort of portfolio organization system, ideally with a star ratings. As your pictures improve so should your galleries. Since a photographer should always be improving, this means his public portfolio should never stay static. Save yourself searching through long forgotten events for good images and start organizing your favorites early on.

4. Maximizing your Web Presence

As you build a good portfolio, you need to make it accessible and get your services online. To do this, there is a mind boggling array of options, from completely free to fully custom designed sites. You can find pre-made website templates for photographers that require little changing for about $50 at Template Monster. For more expensive complete turnkey web solutions look to companies like BluDomain or BigFolio. DPS readers can easily add to this list. For a great album generator for showcasing your work I recommend starting with JAlbum. It’s open source, has some incredible skins and best of all it’s free. Other popular online galleries include Zenfolio, Pbase or even Apple’s iWeb.

5. Be Patient and use this Time Wisely

Generating a flow of clients is going to be a slow process. Use the time you have now to get a solid foundation for the busy days down the road. Create a solid package price list and breakdown. Search out vendors you’ll be dealing with for prints, albums and other products. Design some promotional materials you can provide to clients. Research bridal shows in your local markets and most important of all… keep shooting.

Wedding Photography Tutorials

2008-12-26T00:29:00.000-08:00

Wedding Photography Tutorials

Wedding Photography - 21 Tips for for Amateur Wedding Photographers - Start with these wedding photography tips if you’re an aspiring wedding photographer wanting a good all around introduction to the topic of wedding photography.
Your Best Friend’s Wedding - you’ve been asked to photograph a friend’s wedding? Here’s 10 tips to get you going.
Stepping into Wedding Photography - 5 tips from a photographer experienced in weddings.
Wedding Photography Survival Tips: The Preparation - tips on how to prepare for a wedding photography job.
The One Location Technique for Wedding Photography - a great technique for getting a great variety of shots all in the one location at your next wedding.
Wedding Photography Agreements (contracts) - tips on how to write up a wedding photography agreement between you and the couple you’ll be photographing.
Sample Wedding Photography Agreement - a handy template for a contract if you’re doing a wedding.

Wedding Photography Tips

2008-12-26T00:19:00.000-08:00

Wedding Photography Tips

1. Create a ‘Shot List’

Get the couple to think ahead about the shots that they’d like you to capture on the day and compile a list so that you can check them off. This is particularly helpful in the family shots. There’s nothing worse than getting the photos back and realizing you didn’t photograph the happy couple with grandma!

2. Family Photo Coordinator

I find the family photo part of the day can be quite stressful. People are going everywhere, you’re unaware of the different family dynamics at play and people are in a ‘festive spirit’ (and have often been drinking a few spirits) to the point where it can be quite chaotic. Get the couple to nominate a family member (or one for each side of the family) who can be the ‘director’ of the shoot. They can round everyone up, help get them in the shot and keep things moving so that the couple can get back to the party.

3. Scout the Location

Visit the locations of the different places that you’ll be shooting before the big day. While I’m sure most Pros don’t do this - I find it really helpful to know where we’re going, have an idea of a few positions for shots and to know how the light might come into play. On one or two weddings I even visited locations with the couples and took a few test shots (these made nice ‘engagement photos’).

4. Preparation is key

So much can go wrong on the day - so you need to be well prepared. Have a backup plan (in case of bad weather), have batteries charged, memory cards blank, think about routes and time to get to places and get an itinerary of the full day so you know what’s happening next. If you can, attend the rehearsal of the ceremony where you’ll gather a lot of great information about possible positions to shoot from, the lighting, the order of the ceremony etc

5. Set expectations with the Couple

Show them your work/style. Find out what they are wanting to achieve, how many shots they want, what key things they want to be recorded, how the shots will be used (print etc). If you’re charging them for the event, make sure you have the agreement of price in place up front.

6. Turn off the sound on your camera

Beeps during speeches, the kiss and vows don’t add to the event. Switch off sound before hand and keep it off.

7. Shoot the small details

Photograph rings, backs of dresses, shoes, flowers, table settings, menus etc - these help give the end album an extra dimension. Flick through a wedding magazine in a news stand for a little inspiration.

8. Use Two Cameras

Beg, borrow, hire or steal an extra camera for the day - set it up with a different lens. I try to shoot with one wide angle lens (great for candid shots and in tight spaces (particularly before the ceremony in the preparation stage of the day) and one longer lens (it can be handy to have something as large as 200mm if you can get your hands on one - I use a 70-200mm).

9. Consider a Second Photographer

Having a second backup photographer can be a great strategy. It means less moving around during ceremony and speeches, allows for one to capture the formal shots and the other to get candid shots. It also takes a little pressure off you being ‘the one’ to have to get every shot!

10. Be Bold but Not Obtrusive

Timidity won’t get you ‘the shot’ - sometimes you need to be bold to capture a moment. However timing is everything and thinking ahead to get in the right position for key moments are important so as not to disrupt the event. In a ceremony I try to move around at least 4-5 times but try to time this to coincide with songs, sermons or longer readings. During the formal shots be bold, know what you want and ask for it from the couple and their party. You’re driving the show at this point of the day and need to keep things moving.

11. Learn how to Use Diffused Light

The ability to bounce a flash or to diffuse it is key. You’ll find that in many churches that light is very low. If you’re allowed to use a flash (and some churches don’t allow it) think about whether bouncing the flash will work (remember if you bounce off a colored surface it will add a colored cast to the picture) or whether you might want to buy a flash diffuser to soften the light. If you can’t use a flash you’ll need to either use a fast lens at wide apertures and/or bump up the ISO. A lens with image stabilization might also help. Learn more about Using Flash Diffusers and Reflectors.

12. Shoot in RAW

I know that many readers feel that they don’t have the time for shooting in RAW (due to extra processing) but a wedding is one time that it can be particularly useful as it gives so much more flexibility to manipulate shots after taking them. Weddings can present photographers with tricky lighting which result in the need to manipulate exposure and white balance after the fact - RAW will help with this considerably.

13. Display Your Shots at the Reception

One of the great things about digital photography is the immediacy of it as a medium. One of the fun things I’ve seen more and more photographers doing recently is taking a computer to the reception, uploading shots taken earlier in the day and letting them rotate as a slideshow during the evening. This adds a fun element to the night.

14. Consider Your Backgrounds

One of the challenges of weddings is that there are often people going everywhere - including the backgrounds of your shots. Particularly with the formal shots scope out the area where they’ll be taken ahead of time looking for good backgrounds. Ideally you’ll be wanting uncluttered areas and shaded spots out of direct sunlight where there’s unlikely to be a wandering great aunt wander into the back of the shot. Read more on getting backgrounds right.

15. Don’t Discard Your ‘Mistakes’

The temptation with digital is to check images as you go and to delete those that don’t work immediately. The problem with this is that you might just be getting rid of some of the more interesting and useable images. Keep in mind that images can be cropped or manipulated later to give you some more arty/abstract looking shots that can add real interest to the end album.

16. Change Your Perspective

Get a little creative with your shots. While the majority of the images in the end album will probably be fairly ‘normal’ or formal poses - make sure you mix things up a little by taking shots from down low, up high, at wide angles etc.

17. Group Shots

One thing that I’ve done at every wedding that I’ve photographed is attempt to photograph everyone who is in attendance in the one shot. The way I’ve done this is to arrange for a place that I can get up high above everyone straight after the ceremony. This might mean getting tall ladder, using a balcony or even climbing on a roof. The beauty of getting up high is that you get everyone’s face in it and can fit a lot of people in the one shot. The key is to be able to get everyone to the place you want them to stand quickly and to be ready to get the shot without having everyone stand around for too long. I found the best way to get everyone to the spot is to get the bride and groom there and to have a couple of helpers to herd everyone in that direction. Read more on how to take Group Photos.

18. Fill Flash

When shooting outside after a ceremony or during the posed shots you’ll probably want to keep your flash attached to give a little fill in flash. I tend to dial it back a little (a stop or two) so that shots are not blown out - but particularly in backlit or midday shooting conditions where there can be a lot of shadow, fill in flash is a must. Read more about using Fill Flash.

19. Continuous Shooting Mode

Having the ability to shoot a lot of images fast is very handy on a wedding day so switch your camera to continuous shooting mode and use it. Sometimes it’s the shot you take a second after the formal or posed shot when everyone is relaxing that really captures the moment!

20. Expect the Unexpected

One more piece of advice that someone gave me on my own wedding day. ‘Things will Go Wrong - But They Can be the Best Parts of the Day’. In every wedding that I’ve participated in something tends to go wrong with the day. The best man can’t find the ring, the rain pours down just as the ceremony ends, the groom forgets to do up his fly, the flower girl decides to sit down in the middle of the aisle or the bride can’t remember her vows….

These moments can feel a little panicky at the time - but it’s these moments that can actually make a day and give the bride and groom memories. Attempt to capture them and you could end up with some fun images that sum up the day really well.

I still remember the first wedding I photographed where the bride and grooms car crashed into a Tram on the way to the park where we were going to take photos. The bride was in tears, the groom stressed out - but after we’d all calmed down people began to see some of the funny side of the moment and we even took a couple of shots before driving on to the park. They were among everyone’s favorites.

21. Have Fun

Weddings are about celebrating - they should be fun. The more fun you have as the photographer the more relaxed those you are photographing will be. Perhaps the best way to loosen people up is to smile as the photographer (warning: I always come home from photographing weddings with sore jaws and cheeks because of of my smiling strategy).