Category Archives: nikon

Sports shooter for a day

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I’ve never been into sports. Probably because I can’t play any. But for some reason, I’ve really started to enjoy rugby. Today we attended our first local match and I decided to play sports photographer for a day — something else I have never done, but it seemed like a good opportunity to play with some of my Nikon’s focus-tracking features that I’ve seldom used but probably should more.

The Jayhawks were playing the KC Islanders. For the sake of the Jayhawks, I’ll just say that the score wasn’t important. It was a hard-fought game and I thoroughly enjoyed myself! The Nikon performed beautifully. I tend to not trust automation enough sometimes and I always think I can focus more accurately myself but, in a case such as this, the 3D auto-tracking, continuous servo focusing of my D7000 was a huge help. Every now and then it would pop to a player that I didn’t intend but that was rare and my keeper ration was much higher than it would have been if I had relied on my own focusing skills.

All-in-all, a great – if not brutally hot – day!

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Shooting tethered

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It’s snowing outside so I’m playing indoors today.

I’ve been setting up my new 13″ Retina MacBook Pro and ran across an article about shooting tethered in Lightroom 4. I thought I’d give it a try, even though I only do a small amount of studio photography compared to field work. For some reason I always thought that tethering would be a lot more involved than it turned out to be. In fact, all I needed was a USB cable to connect my Nikon D700 to my MacBook. Turn on the camera and open Lightroom and, under the “file” menu, you can initiate tethering. Lightroom found the camera automatically and in no time I had a little toolbar added to my Lightroom interface that showed my camera settings: shutter speed, aperture, white balance, etc. Here’s a glimpse of the setup:

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The Lightroom toolbar has a shutter button so you can fire the camera from the laptop. Hit the button and the camera makes an exposure that is immediately transferred to the laptop and opened for review right there in Lightroom.

I know. Lots of photographers have been doing this for years and it’s nothing new, but it was a revelation how easy it was to set for a first-time user like me. I’m reminded of the first time I realized that my Nikon had a built-in intervalometer for shooting time-lapses. More and more often, features that used to be costly added expenses are now built into modern gear, although sometimes they’re not heavily promoted. It pays to noodle around a bit every now and then to see what wonders are hiding in those electronics.

You know, I was thinking that this tethering feature wouldn’t be all that useful in the field but, now that I think about it, it could be extremely handy when doing things like night photography. I know when I was shooting the Milky Way in western Kansas last summer, it would have been nice to have had a way to be able to check exposure and focus during the shoot better than I was able to do on the camera LCD. The USB cable travels with me anyway, so this capability comes at no extra expense, weight, or bulk. Just the kind of thing I like.

Rainy day strategies

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Stewart Island lies off the southern tip of New Zealand’s South Island. In this shot we’re just over the peninsula from the Island’s one town, Halfmoon Bay, and are overlooking Golden Bay, Thule Bay and the Paterson Inlet. Today’s destination is Ulva Island — a small, 670 acre island in Paterson Inlet that is being restored to its original predator-free ecosystem.

It’s also raining, which can make shooting photos during our walking tour challenging. I don’t have any waterproof housings but I do have a jacket and opt for a two body, two lens operation today. I’ll take the Nikon D700 with a 60mm macro lens and the D7000 with the Tamron 18-270. Here’s my thinking:

We’ll largely be in fairly dense rainforest where the reduced contrast of the overcast sky will actually help even out the light. I won’t want to include a lot of sky in any shots since it’s flat grey so I will instead focus on details — macro shots of the plants that we encounter on the walk. It will also allow me to shoot downward for the most part, eliminating the problem of rain getting on the front element of my lens. Neither camera-lens combination is large, so I can keep them both tucked into my partially zipped jacket and retrieve them only when needed. The second body with the 18-270 will be reserved primarily for those times when I encounter something that suddenly requires more than a prime 60. That might be a wide shot where the trail opens out onto a beach, or a telephoto shot of a bird. Birds are a large part of the visitor experience to Ulva Island so I hope to get something along those lines. By taking the 18-270 and a macro, I figure I’m set for nearly anything and I won’t have to deal with changing lenses in the rain.

Overall, this plan worked well. Once we made our way off of the beach and into the understory, the rain effect was lessened by the trees overhead, although the occasional drop that would land now was a much larger drop from a leaf than the small, misty raindrops on the beach. The trails wound through ferns and forgotten-looking plants that gave a real sense of what New Zealand must have once been like, before the main islands were largely cleared of trees for cultivation. I’ll show some of the macro shots in the next post but first I’ll show a couple of shots that made me thankful to have had the 270 end of the Tamron 18-270 zoom.

This tiny bird is a Toutouwai, or Stewart Island Robin. On the much larger end of the scale is this South Island KaKa:

A member of the parrot family, Kakas are about 18″ long and weigh a pound on average. That’s a pretty sizable bird. The Kaka didn’t come nearly as close as the Robin. There was another group a few yards ahead of us that he was curious about but the addition of our group coming up behind eventually proved too much and he took off. I was happy to get the images I did with the 18-270, but can only imagine the shots that a person could get with a little more time and patience on this island. For the most part, the birds are not that suspicious of people and will come fairly near. The haven’t really learned fear.

In the next post, I’ll share a few of the detail shots I took on this hike with the macro. Given the weather and limited time, I think the two lenses really allowed me to cover a lot of ground photographically speaking.

I should also mention one other foul-weather tip — the landscape at the top of this post (also shot with the Tamron 18-270) was fairly grey and colorless due to the overcast skies and impending rain. Once I brought it into Lightroom, I opted to alter the white balance to give the scene a cooler, blue cast. The result resembles the light you might get just before dawn or after sunset, even though it was shot near mid-day. Filters can also be used on-camera for this effect but, anymore, I prefer to leave my options open for playing with different color temperatures at the point of post-processing instead. By shooting in RAW, I have the ability to make several versions in different tones without any damage to the original image. One of the great benefits of today’s digital photography tools.

Shooting details with the Tamron 18-270

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I’ve neglected to mention that all of the photos from my last three blog posts — Glimpses of Auckland, Auckland Graffiti and Back from New Zealand — were taken with my new Tamron 18-270mm lens. As I had suspected, the wide range of focal lengths offered by that one small lens made it the perfect companion on those quick walks that I would take in the morning before breakfast or between sessions of my SATW Board meeting. I also took it to meals just in case something particularly photogenic was served, like these oysters on Waiheke Island:

When I travel for reasons other than purely photography, it’s always a trade off of when to take the gear and when to just focus on the meeting or whatever else might be the actual purpose of the trip. The thing is — you never know when an opening ceremony at a convention might include dancers in traditional dress or be held at a venue that has an amazing view of sunset over the bay. It’s not always practical to take a backpack full of gear and keep it shoved under the table while having dinner at a nice restaurant. For a while I made do with a pocket point-and-shoot for times like this but I was never entirely satisfied with my results. For this trip, I went with the Nikon D7000 and the Tamron 18-270mm lens. I even had video capabilities when needed.

The flowers at the top of this post and the detail shots below came from a couple of hours that I had to walk around the small village of Greytown, New Zealand. The weather was overcast and wide shots weren’t exactly tourism brochure worthy with those white skies, so I focused on details that kept the sky cropped out and took advantage of the nice, flat light. The Tamron came through for me again with its ability to focus close enough that there really wasn’t ever a shot I couldn’t get (I think Tamron specs out the minimum focus distance at just over 19 inches). The bokeh is nice as smooth as well.

Sure, there were other times on the trip when I had more time and freedom to photograph and I’d make use of nearly every lens and filter that I’d packed, but for those days that I had to tend to other business and still feel prepared for the occasional shot that presented itself, the D7000 and 18-270 combo never let me down.

Back from Fiji

The Society of American Travel Writers Freelance Council (which I currently chair) held its Spring meeting in Fiji last week. In between business meetings, professional development sessions, and some spectacular events put on by our hosts, there were a few hours left to squeeze full of all manner of touring and photo opportunities. Caving, cruising, fire dancing — you name it. Quite a week indeed.

This was my first outing with the Nikon D7000 and my new Think Tank Photo sling bag. Both performed admirably. The sling was a bit less comfortable than my old backpack on long airport treks between gates (anyone dashed the several blocks between LAX’s terminal one and the international terminal lately?) but it more than made up for it when it came to accessing gear. It’s really nice to be able to swing it around and open it up from the top, regardless of which shoulder you’re wearing it on. Nice work Think Tank! The smaller size made it super easy to get into overhead compartments, too.

The D7000 and I had a few issues at first but we’re working them out. The focus seems a bit quirky to me but I probably just need to explore the various settings a bit more. The really odd thing to me is that I always have to refocus when shooting video. I tend to take a still first to test exposure, but when I then switch on live view it’s out of focus and requires another half-press of the shutter release — which is kind of counter-intuitive given that you have a separate button on the back for video. I don’t know what’s up with that. I also had some trouble early on getting my exposure to match my manual settings for stills but then realized there is a menu setting where you can turn on “manual movie settings”. It’s off by default, evidently. I guess I should have devoted a bit more time to reading the manual before I left. Oh, well.

Anyway… more on all of this soon. The mad rush to get these images catalogued before the next trip is on. As usual, I’ll share a few shots as I make my way through the shoot.

So long, old friends

I’m saying goodbye to two fine traveling companions — my Nikon D200 and D300. They’ve served me well and we’ve had a great many adventures together.


Easter Island, shot with the Nikon D200 in 2006.

I picked up the D200 in 2006 just prior to a trip to Chile and Easter Island. What a way to start. It was almost literally like going to the ends of the earth. The D200 was my main body for a couple of years and never gave me a bit of trouble. In 2008, I borrowed my brother’s D300 for a back-up body when a trip to China suddenly came up. Upon returning home, I bought it from him.


A low-light shot from China, taken with the Nikon D300 in 2008.

The two traveled well together but the D200 was semi-retired in early 2009 when I added a D700 to once again have a full-frame body. I like to carry two bodies both for back-up purposes and to have two lens options quickly available at all times, but carrying three is too much for me. Still, I hung onto the D200, thinking that I might convert it to infrared. It was tempting but I never got around to it — partly because I didn’t know how much use I’d get out of it and I didn’t want to have the extra weight in the bag at all times. If it’s not with you, you won’t use it, right? So… it never happened.

The D300 and D700 have accompanied me to Egypt, Canada, Dubai, Thailand, Jamaica, Germany and other exotic and not-so-exotic places but the time has come to make a change in the lineup again. I’ve been feeling the need to add more video capabilities and the new DSLRs that shoot video would allow me to do that without carrying much extra gear. So, I’ve ordered a Nikon D7000 to become the new traveling companion for my D700. I’ll fill you in more when it arrives.

Rainy day options

I talked a little bit yesterday about how to best handle less than ideal weather situations. My day in Passau was white-skied and a tad dreary. I actually like that kind of weather and think some great shots can be made when there’s a little more “atmosphere” than usual. Unfortunately, from a business sense, my likes are trumped by what sells. I’ll still shoot for myself and make the shots available to publishers, but they’ll typically take those dramatic sunsets or clear blue skies over this:

That’s the Passau I saw last month. Beautiful city, actually. And I had a great time wandering its streets finding incredible vantage point after more incredible vantage point. But… reality sets in and you need to make some photos that will sell, too. Heading inside is one option as seen by the church interior at the top of this post. The softened light from the overcast skies didn’t give those dramatic shafts of light that you might sometimes see streaming through the windows but — with an interior as bright and white as this one — you don’t really need them. The soft light did a great job of modeling all of the ornate features and did so with lower contrast than direct sun would have.

Passau also has a great glass museum. We’re talking about a rambling, multi-story maze of room after room of extraordinary glass. You can seriously get lost in there, but you won’t mind much because there’s good stuff around every corner. The lighting doesn’t look too sympathetic to photography at first. There are all different color temperatures from pink to blue to green. Happily, the auto white balance on my Nikon was able to clean that right up without a second thought from me. I just popped on the 60mm Micro lens and went crazy. Most of the glass was behind glass, but limiting depth of field and blocking the background with my own body allowed me to deal with most reflections. Some of these shots will make nice cutouts (like the one on the right) for those guidebooks that want a little detail shot to break up a long block of copy.

All in all, not bad for a rainy day’s work.

Grimma, Germany

A portrait of a man in a traditional military uniform in the beautiful small town of Grimma on the river Mulde (just east of Leipzig) during a quick stop on the way to Dresden. I’m afraid I was much like an annoying fly to this poor man, as I photographed him from all angles while he stood in the square. I was using my Nikkor 80-200mm zoom, so at least I was a distant fly. This angle with the fall color in the background against his blue uniform turned out to be my favorite. To be honest, he was a great sport and seemed more amused by the attention than annoyed.

Lightroom 3: noise reduction

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In 2006 I was in Santiago Chile shooting with my new-ish Nikon D200 and I found myself in the dark interior of a 400 year old church. It seemed like the ideal time to play around with the improved high-ISO capabilities of that camera. Back in the film days, I used to shoot with Fuji Velvia that I rated at ISO 40 nearly all the time. I did everything I could to avoid film grain and stepping up to an ISO 100 film was almost extreme for me. As I recall, my D100’s lowest ISO was 200 and it seemed really extravagant at the time to have all that headroom. I rarely moved off of 200, though, as the noise would creep in at 400 and especially noticeably by 800. The D200 had a lower minimum ISO of 100 and felt more in my comfort zone but there were tantalizing reports that it even gave good results at ISOs of 1600 and higher. Each successive body I’ve owned has improved even further but I still tend to stay at minimum ISOs as much as possible. Old habits I suppose, but I just don’t like the look of digital noise at higher ISOs and I like my RAW files to start out as clean as possible.

But back to that church — I didn’t have a tripod with me so I decided to experiment with higher ISOs to at least be able to capture something in that dark, candlelit interior. This shot of the candles themselves was taken at ISO 1600. It was a decent image when I processed it at the time, but there was some noise. I didn’t think much more about it until I was importing my Chile shoot into Lightroom 3 over the last couple of weeks and I decided to give the new noise reduction controls a test.

Here’s a crop at 100% of the image with noise reduction off:

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And, to keep these side-by-side in the post, here’s a crop with it on (I’ll explain more after the image):

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I’ll be the first to admit that this is not a true, scientific test. To be honest, I could have had a better result than that first crop four years ago if I had applied the noise reduction tools that were available at the time. What’s more, I’ve actually increased the noise issue a bit due to some exposure compensations that I’ve made in Lightroom. The idea here is just to show how much noise was in the RAW file, and how much Lightroom 3 was able to remove.

I’ve also really cranked up the noise reduction in Lightroom on the second shot. It’s more heavy-handed that I would typically use but, again, I wanted to kick the tires and see what she’d do. Luminance is maxed out at 100 in that second crop.

Is it perfect? No. There’s a bit of a painterly quality to the gradations, but it’s pretty amazing. You could continue to tweak the settings and maybe even add just a touch of LR3’s new Film Grain to disguise some of those gradation artifacts but, as a quick-and-dirty test, I’m impressed by the possibilities. I’m sure I’ll still stay in the low end of the ISO range 95% of the time, but I certainly won’t let dark conditions prevent me from shooting anymore. It’s comforting to know that even if the results aren’t great now, in four years your tools may improve to the point where you can salvage those images.

And if you’re wondering why I would add film grain after trying so hard to disguise high-ISO noise, it does seem counterproductive but it’s a technique I’ve used for years to disguise areas of retouching. Sometimes you’ll need to add a gradation to a sky or something of that nature and the retouched area looks smoother and more noiseless than the rest of the image, calling attention to your efforts. Adding a little noise or grain will unify the original image and the retouch and make everything blend. In small doses, that added grain never shows up on output. Maybe that will be the subject of a future post…

Breathing new life

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With my recent investment in new hardware and software updates, I’m finally making a real time-investment in putting together my master Lightroom catalog. When I first went digital (after dabbling for a while, I made the serious switch in 2003), I archived all of my RAW files to DVD. Everything that wasn’t ridiculously hopeless got archived. Then I made my tweaks to the best shots and archived those, provided them to stock agencies, etc. My file names are chronological so the only real way of finding things was by searching by the date of the shoot. That, and I had a crude Extensis Portfolio database that provided thumbnails of all of my images and their pathnames, which showed which DVD they were stored on.

That was my system until a year or two ago when I began to migrate to using Adobe Lightroom as my main image cataloging system. I believe it was my trip to China in late 2008 when I began processing everything through Lightroom instead of Bridge and ACR. Everything from that point forward was in Lightroom, but everything prior was still in my old non-system.

Now, as I have downtime between shoots, I’m making the effort to add my digital files from 2003-2008 to my master catalog in Lightroom. After that is done, I’ll need to address my scans from transparencies that predate 2003, but that’s another kettle of fish.

The beauty of re-processing some of these older images is that they can often be improved by the advances made in RAW processing software in the intervening years. The shot at the top of this post is one example. Shot in the fall of 2003 while working on a story about Indiana’s covered bridges, this was originally three vertical shots. The plan was to use them to make a panorama in Photoshop, but it was a time-consuming task at the time.

100723bridge_sotcHere was the situation: This particular covered bridge was located right next to a newer, concrete bridge that replaced it. They were so close together that I couldn’t get the whole bridge in frame with my 17mm lens because there was no room to back up. This photo of the two bridges gives you some idea of the setting.

So, I did what I could do. I backed up under the concrete bridge until it was just out of view. Then I fired off three vertical shots from left to right, making sure I had plenty of overlap along their common edges. I planned at the time to eventually stitch these three photos into a panorama, but I knew it would take some time to correct the wide angle distortion, mask the overlapping edges and tweak the sky and water to get a seamless blend. I set them aside for later.

“Later” came when I imported this shoot into my new Lightroom catalog last week. Seven years have passed and now stitching a panorama is automated. In Lightroom, you can select the three images and go under the Photo menu to Edit In > Merge to Panorama in Photoshop. The software takes it from there and you end up with a seamlessly blended, distortion corrected panorama in no time. Now I have one more covered bridge shot in my library.

Many other tools have been improved in the last seven years and I’ll share some other salvaged photos as I move through the files. It seems like Adobe’s image editing suite has arrived to a point where I can be comfortable making this kind of a huge time commitment to cataloging my images now, without having much worry that I’ll regret taking this path a year or two down the road. Sure, I expect things to continue to improve, but the overall system now feels mature enough to move ahead with confidence that time isn’t being wasted. That’s a good feeling.

Next up: a couple of small things that aren’t completely obvious in Lightroom that make life much easier…