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Nikon DSLR: The Ultimate Photographer's Guide (Digital Workflow) PDF

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Digital Photography Workflow Nikon DSLR This page intentionally left blank Digital Photography Workflow Nikon DSLR The Ultimate Photographer’s Guide Jim White and Tony Sweet AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier The Boulevard, Langford Lane, Kidlington, Oxford OX5 1GB, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First edition 2010 Copyright © 2010, Jim White & Tony Sweet. Published by Elsevier Ltd. All rights reserved The right of Jim White & Tony Sweet to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangement with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. British Library Cataloguing in Publication Data White , Jim. Nikon DSLR : the ultimate photographer’s guide. -- (Digital workfl ow) 1 . Nikon digital cameras. 2. Single-lens refl ex cameras. 3 . Photography--Digital techniques--Amateurs’ manuals. I . Title II. Series III. Sweet, Tony, 1949- 771 .3’3-dc22 Library of Congress Control Number: 2009930340 ISBN : 978-0-240-52122-0 For information on all Focal Press publications visit our website at focalpress.com Printed and bound in Canada 09 10 12 11 10 9 8 7 6 5 4 3 2 1 CONTENTS CONTENTS Chapter 1 The Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 The Exposure Triangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Shutter Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Aperture and Depth of Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 ISO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7 Resolution and Sensor Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 C hapter 2 Setting Up Your Workfl ow . . . . . . . . . . . . . . . . . . . . . . 27 A Successful Workfl ow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Color Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 JPEG or RAW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Transferring Images to Your Computer . . . . . . . . . . . . . . . . . . . . . . . 33 Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Color Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 C orey Hiltz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 7 C hapter 3 Common Features of Nikon Digital SLR Cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Thoughtful Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 N ancy Rotenberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Chapter 4 The Cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Which Nikon Camera? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 The Nikon D40 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 The Nikon D80 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 The Nikon D300 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 The Nikon D3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 v CONTENTS Chapter 5 Shooting Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Which Shooting Mode Do I Choose? . . . . . . . . . . . . . . . . . . . . . . . . . 77 Full Auto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 C reative Photography: Digital Vari-Program Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Advanced Shooting Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Sue Milestone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Chapter 6 Getting Good Color and a Good Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Color Temperature and White Balance . . . . . . . . . . . . . . . . . . . . . . . 97 Focusing and Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Jack Kennealy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Chapter 7 Nikon Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 The Nikon Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Lens Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Nikon Lens Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Some Nikkor Lenses to Consider . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 What Lenses Do I Buy? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Chapter 8 Flash Photography . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Why Shoot With a Flash? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Keeping It Natural . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Nikon ’ s Creative Lighting System . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Using the Built-in Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 N ikon Speedlites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 40 Flash Photography With a Speedlite . . . . . . . . . . . . . . . . . . . . . . . . 142 G eorge Schoeber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 44 Chapter 9 Getting Your Best Shot from the Digital Negative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 51 O verview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 51 N ikon Capture NX 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 51 vi CONTENTS Other Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 A perture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 60 I n Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 60 P eter B. Kaplan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 61 I ndex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 67 vii CHAPTER 1 T he Basics T he Exposure Triangle T he very fact that you have purchased this book means you plan to take your photography beyond the casual point and shoot stage. Although this book isn’t designed to be an introductory course in photography, it is necessary to understand some important basic concepts to fully take advantage of your Nikon Digital SLR camera. To fully understand and utilize the creative power of these incredible cameras, you need to understand the relationship of aperture, shutter speed, and ISO, or what we will call the ‘ exposure triangle. ’ The basic rule to remember is that all three factors control your exposure: change any one variable and one or both of the other two must be changed as well. Understanding this relationship will allow you to move beyond making technically correct photographs to capturing really great images. Aperture The aperture is an adjustable opening in the lens of a camera. Somewhat like the pupil of our eye, the aperture adjusts to allow more or less light to enter the lens and reach the sensor. The size of the aperture is controlled via an adjustable diaphragm that opens or closes to allow more or less light to enter. On a standard camera lens, we measure in units called ‘ stops. ’ Each f/stop represents either double or half the 3

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