Nikon is swinging for the fence this time, with a full frame 36 megapixel sensor delivering an image with a resolution of 7360×4912.
The overall frame is rumored to be smaller and lighter than the D700, but with nearly three times the sensor resolution.
It also appears Nikon finally gotten more serious about DSLR video after basically ceding that share of the market Canon. The D800 will offer two video modes for 1080p at 30/25/24 fps and 720p at 60/30/25/24 fps and pack in both CF and SD memory card slots.
The LCD screen on the back will be a little larger than most at 3.5 inches.
The autofocus system is rumored to be the same 51-point AF with 3D Focus Tracking, similar to other high end Nikon models. It’s not known yet if that includes the continuous-focus scene recognition engine.
The Nikon faithful are already arguing whether the photos are real, but if not they’re some of the best mock-ups I’ve seen.
The histogram clearly shows the dark elements dominate this photo - Use a fill flash if you're shooting for optimum exposure
I do a lot of what’s sometimes mockingly referred to as “chimping”, looking down at my camera’s LCD screen after taking a shot. Sometimes I’m looking at the picture, more often I’m looking at the histogram.
The histogram is one of the most powerful yet frequently under-used features of high end cameras. Study them long enough at it gets to be like Neo in The Matrix: You can look at the histogram and know whether the photo is good and have a rough idea what it will look like.
At a basic level the luminosity histogram shows the distribution of luminosity values from darkest to lightest. The vertical spikes in the graph show the distribution of brightness levels in that particular scene.
In the example photos I deliberately selected images that were tricky exposures. A fair subject on a white background, brightly lit background with a foreground subject in shadows, and a balanced exposure in daylight so you can compare the histograms.
A fair subject on a white background shifts the luminosity histogram the other way
In my Canon 7D, the histogram is showing a 5 stop dynamic range (different than the displays in the photos). That’s a pretty healthy dynamic range compared to the old days, and yet many photos demand more. To fit a photo into your camera’s dynamic range, you have a few options:
– Use the fill flash on the foreground, essentially moving the darks into your camera’s midtone dynamic range.
– Use HDR techniques to expose for different parts of the photo and merge them digitally.
– Use a Neutral Density filter to crush the highlights and shift the exposure toward dark and middle tones.
– Wait for better light.
This histogram shows a wide dynamic range but fairly well balanced - If the subject wasn't moving, this would be a candidate for HDR processing
Now you might understand a little better why DSLR video shooters always carry a set of Neutral Density filters around. They’re limited to 1/50 of a second shutter speed, which narrows their options for shifting the dynamic range.
Luminosity is only one component of your histogram. In the future we’ll look at even more ways to hack your histograms for better photography.
The Golden Spiral is just one visualization trick you can use to take better family photos this year
I wanted to revisit two separate articles on the Rule of Thirds and the Golden Ratio and try to merge them into a way of viewing a scene and seeing the photograph within before everyone heads home for the holidays and starts swamping image services with the same family photos with the same really bad composition and lighting we see every year.
Just to review, the Rule of Thirds is a composition guideline that goes back almost as far as recorded time that suggests instead of putting a subject dead center in a photograph, shift the subject roughly a third of the way toward the edge of the frame. The way to visualize that is to picture a screen of nine equal size blocks overlaid on your view screen. The object is to put the subject at the interior intersection of any four of those blocks.
You can apply the same technique to your family photos. Instead of focusing just on the subject, try to focus on what they’re doing. If a family member is in the kitchen cooking, try to pan the camera over far enough to capture what they’re making. By focusing on the task instead of the subject, you’ll actually be moving the subject closer to the edges of the photograph. The same if they’re working in the garage or unwrapping presents. By framing the activity to the center, you’ll naturally be moving the subject toward the thirds.
That rule also provides guidance for distance. Adjust your distance so you can still see the person performing the activity, with what they’re working on center frame. If there’s distance between the subject and edge of the frame, you’re probably too far away. Move in or zoom in, if you can’t take a step forward.
Breaking Up The Police Lineup
Invariably everyone rushes into a line against the wall while someone snaps a few pictures with that dreadful straight-on flash. This year, escape from the police line up by borrowing a trick from the Golden Ratio.
To help visualize the golden ratio, imagine a widening swirl that starts in the upper right third of your camera frame that then curves toward the bottom of the frame, then starts up the other side, ending at the upper left corner.
Let’s say there were three couples in the police line. Break that up by having one couple stand to the back and off to one side. Have the second couple sit or kneel closer to the center of the frame and a little forward, and the third couple sit on a couch or stool off to the left at a medium distance. Now picture the swirl. It should start around head height of the standing couple on the right, sweep down to the couple on the floor, then sweep back up to the couple at medium height on the couch or chairs.
Now you’ve broken up the dreaded police line and created interesting composition by aligning your logically grouped subjects along the golden spiral. The result will be much better family photos!
Some of these concepts seem abstract until you can translate them to something that’s real to you. Experiment a little and look back years later with pride at the pictures you took.
It's not unheard of to have 10 to 12 photographers sharing TFP models
Photography is one of those fields that requires a certain amount of study, whether that comes out of books, online, or in a classroom, combined with practical exercises in order to grow in the field.
There are lots of ways to get that experience. You can strike out on your own with the equipment you can cobble together and slowly build your portfolio. Another approach is to partner up with other photographers in the area and pool your resources.
TFP Shoots
TFP stands for Time For Prints and it’s how poor photographers starting out get to work with poor models just starting out. The basic arrangement is an exchange of the model’s time for your pictures.
When it comes to a commercial release, some TFP models will sign them, but many will not. Usually a commercial release comes with a price tag. Some photographers will insist on a commercial release for a TFP contract, and more than a few get them. To me it seems a little unfair. If you’re going to sell the photos, the model should get something, even if it’s on a contingency basis. That’s my philosophy anyway, not everyone agrees. You don’t need a commercial release to use TFP photos in your personal portfolio, you may when using them on a commercial web site or for promoting your business.
It’s not unusual for two, three or more photographers to team up for a large shoot involving several models. When I say “models” most people are picturing women in the 18-24 demographic, but don’t get tunnel vision when it comes to picking talent. There is a big call for older and middle age models and don’t pick all women, either. Mix it up. The more diversity in your model selection the bigger chance you have of making a sale.
Make diverse choices when selecting TFP models and don't forget to consider men as well
Studio Rentals
I know successful photographers who do not have their own studio. They rent studio space when they need it, sometimes scheduling several portraits on one day. It makes sense in many instances. You can rent fully equipped studios with high end lights by companies like Paul C. Buff and Bowens that even include the radio triggers and backgrounds. In some cases you’re just renting lights, space and supplying your own backgrounds.
Until you have the business to justify your own studio and equipment, this may be your only option for getting started.
This is another area where partnering up with other photographers can save money. Two photographers splitting a studio rental may be able to work with high end lighting equipment for as little as $20 an hour.
You can find other photographers in your area on Flickr, through professional associations like PPA, or just running an ad in Craigslist. Obviously, you’ll want to spend some time checking out potential partners and agreeing on the ground rules of shoots beforehand.
By looking around and working with other photographers, you’ll be able to encourage one another, learn from one another, and cast a longer shadow than either of you could alone.
Cambo Wide RS Anniversary Edition for extreme architectural photography - by Cambo
Architecture is one of those specialty areas of photography where the cost of the really high end equipment can be absolutely eye-popping. It doesn’t stop there, either. Imagine having all the problems associated with background, lighting and angles when your subject is two stories tall.
Architectural cameras, like the Cambo Wide RS Anniversary Edition, start with price tags in the tens of thousands and up and that’s just the body. You get to spend almost that much more again on a lens and digital back. Expect the whole kit to be near $30,000.
At least you won’t have any trouble remembering your serial number for warranty service. For cameras like the Cambo Wide RS Anniversary Edition, they’re only making 65 of them. It won’t be that difficult to keep track of your warranty as the cameras come personally engraved with the owner’s information.
What you get for that princely sum is a precision camera with an aluminum body and stainless steel gearing in a “pancake” style camera made to use with medium format digital backs and extreme wide angle lenses. All that precision is necessary to get such a wide angle lens that close to the sensor.
The camera body is built with a variety of wide tilt and swing panels that provide up +/- 5 degrees of tilt along two planes with precision geometry gearing.
All the gearing is designed to move the back, not the lens, so it’s possible to get interesting effects like precision panorama shots just by moving the back.
Definitely not for everyone, but if you’re one of those people who dream about doing architectural photography, this is one of the cameras you dream about owning some day.
