Ultimate Nikon SLR Handbook 2014

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NIKON
Volume 1
228
PAGES
REVISED & UPDATED
FOR 2014
Take better shots with

your Nikon D-SLR
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2014
Welcome
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Welcome to your
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INTRODUCTION
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CAMERA SKILLS
NIKOPEDIA
ith SLRs suitable for beginners as well as the

most demanding professional, Nikon has long
been one of the most sought-after brands by
serious photographers. The beauty of these
interchangeable-lens cameras is that they allow you to get
really creative with your pictures, and end up with
photographs that are far more than point-and-shoot
snapshots. But getting great images from these
sophisticated tools means far more than pressing the shutter
and hoping for the best. An array of dials,
menu options and information-packed
displays have to be given proper
attention. The Ultimate Nikon SLR
Handbook is the instruction
manual that should have come
e:
re
th
r
Turn to chapte
ge
pa
on
e
in the box. It doesnt just tell you
ar
ftw
Nikon so
e Watch
th
ick
cl
d
an
2
what
the buttons do it shows
10
watch
the video links to g
you how to use them to get great
in
the accompany
es
pictures!
Our exhaustive 11-lesson
id
gu
eo
vid
Nikopedia section (see page 56)
provides a complete introduction to
photography with a Nikon D-SLR
from how to change your lens, to how to master depth
of eld. Our tutorials and the accompanying videos
show you how to improve the pictures you take using
Nikons highly-respected editing software. As you learn
more about photography, you will be tempted to invest
in more lenses and other accessories but make sure
you read our fact-packed group tests (on page 126)
before making a decision about what to buy!
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VIDEO GUIDES
Chris George, Series editor
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2012 The Ultimate Nikon SLR Handbook 3
INTRODUCTION
CAMERA SKILLS
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No part of this magazine may be used or reproduced
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INTRODUCTION
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CAMERA SKILLS
NIKOPEDIA
CHAPTER ONE
Camera skills
CHAPTER THREE
6 Master Nikon software 102
Nikon D-SLR crash course......................... 8

Shoot it sharper with your Nikon............ 20
Learn all about lenses ............................. 32
100 Nikon SLR secrets .............................44
CHAPTER TWO
Nikopedia
56
CHAPTER FOUR
Essential kit
126
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VIDEO GUIDES
Budget telephoto zooms.......................... 128

Ultra wide-angle lenses ............................142
Superzooms ............................................... 156
Standard zooms ........................................ 166
Macro lenses .............................................. 178
Super telephoto lenses ............................ 190
Tripods ........................................................202
Flashguns ....................................................212
ESSENTIAL KIT
Focal length explained ............................ 58

Whats autofocus all about? ................... 62
So whats depth of field all about? ........ 66
Whats exposure all about? .................... 70
So whats aperture all about? .................74
So whats shutter speed all about? ....... 78
What mode and when? ............................ 82
What are metering modes? .................... 86
What is white balance?............................90
Digital processing explained .................. 94
Contrast and dynamic range .................. 98
Introducing Capture NX 2 .......................104

Take control of your editing ...................106
Go fast with quick fixes...........................108
Play with exposure...................................110
Fix colour with a click ..............................112
Camera and lens correction ...................114
Retouch dull portraits .............................116
Work on your RAW shots .........................118
Selections and masks.............................120
Convert to monochrome ........................ 122
Improve composition ..............................124
NIKON SOFTWARE
is
W h e n y ou se e t h s
b u t t on , t h e r e g
a n a c c om p a n y in e
id
Nik on v id e o gu
NIKOPEDIA
CAMERA SKILLS
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Page 20
Page 8
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Nikon skills
INTRODUCTION
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CAMERA SKILLS
NIKOPEDIA
Page 32
Nikon D-SLR crash course .................................8

Shoot it sharper with your Nikon ................ 20
Learn all about lenses ...................................... 32
100 Nikon SLR secrets ......................................44
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
Page 44
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VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
INTRODUCTION
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CAMERA SKILLS
ISO and White Balance

In tricky lighting, you might
need to take manual control
Lenses explained
How focal length works and
how to choose the right lens
Shutter speed
How shutter speed affects
camera-shake and movement
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Focus and Aperture

Learn to control sharpness
and introduce creative blur
VIDEO GUIDES
Exposure modes
Which mode do you choose,
and whats the difference?
ESSENTIAL KIT
WHAT YOULL LEARN...
NIKON SOFTWARE
Just got a new NikonD-SLR? Dont be fazed by all those new options
and controls. Our beginners guide will make everything clear and
get you shooting fantastic pictures in no time at all
NIKOPEDIA
Nikon D-SLR
crash course!
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EXPOSURE MODES THE BASICS

Your D-SLRs mode dial
offers a whole host of
different settings. But
which one should you
use, and why?
he mode dial on the top of your

D-SLR is your cameras nerve
centre. Its where you decide how
you want the camera to work, and how
much control you want to have.
If youre new to D-SLRs, dont worry!
All of Nikons consumer cameras have
a green Auto mode that takes care of
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Scene modes take things a little further.
Here, you tell the camera what kind
of subject youre shooting, and it then

chooses the best camera and picture
settings for that subject.
Sooner or later, though, youll want
to take control, and this is where the
P, A, S & M (Program AE, Aperture
Priority, Shutter Priority and Manual)
modes come in. These give you much
more control over the shutter speed and
aperture, which is where you can start
getting creative with your photography.
EXPOSURE TECHNIQUE CONFUSED BY P, A, S & M MODES?

Heres our quick guide to which mode you should use, and when
Program AE (P)
Aperture Priority (A)
Shutter Priority (S)
Manual (M)
Here, the camera chooses both the

shutter speed and the aperture.
This is quick and simple, and ne for
most everyday subjects.
You choose the lens aperture and

the camera automatically sets the
shutter speed. Use this when you
want to control background blur.
You set the shutter speed and the

camera automatically sets the
aperture. Its ideal for action and
capturing movement.
In Manual mode, you set both the

shutter speed and the aperture. Its
good for tricky lighting, but you have
to check the exposure is correct.
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WHAT DO THE MODES MEAN?
Close-up mode
Full Auto mode
This helps you get
If youre a complete
the best shots of
novice, this mode is
small subjects.
ideal because the
Consider using a tripod to help
camera takes care of all the
reduce any camera-shake.
settings automatically.
Live View lets you compose your

picture on the LCD display. Its
what you use to shoot movies too
MAKE THE MOST OF LIVE VIEW

How to compose your pictures on the LCD display
View using a switch on the camera body
or, with some Nikon camera models, by
pressing an Lv button.
Autofocus can be slower in Live
View mode, and it may be less useful in
bright light. But it shows you a lot more
shooting information, and previews the
effect of exposure, White Balance and
other camera adjustments.
Portrait mode
The camera will
use a wide lens
aperture to throw
the background out of focus,
and softens skin tones.
Manual mode
This is designed for
experts. You choose
the exposure
yourself, though the camera
still suggests settings.
Shutter
Child mode
Priority mode
In this mode, the
Use this if you
camera keeps
want to choose the
backgrounds
colourful, and makes skin tones shutter speed but make the
camera set the aperture.
soft and natural looking.
If youre new to D-SLRs, dont worry! All

Nikons consumer cameras have a green
Auto mode that takes care of everything
Program AE mode
Sports mode
The camera still
Ideal for fastsets the shutter
moving action
speed and aperture,
where youre happy
but you get to control other
for the camera to choose the
settings. Ideal for general use.
settings itself.
ESSENTIAL KIT
EXPERT TIP SCENE MODES AND PICTURE CONTROLS

Both change the picture settings, so whats the difference?
Scene modes change the camera settings
Picture Controls change the processing applied
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Scene modes adjust both

the camera settings and the
picture properties. For example,
in Portrait mode, the camera
chooses wider lens apertures to
defocus the background, and also
processes the picture to produce
softer skin tones. Picture Controls
only affect the way the image is
processed, so the Portrait Picture
Control gives you the same
skin-softening effect but without
imposing camera settings. Picture
Controls are more important if
youre shooting in JPEG, not RAW.
NIKON SOFTWARE
Aperture
Landscape mode
Priority mode
Designed for vivid
Use this if you want
landscape shots in
to choose the lens
daylight. The builtin ash is switched off because aperture but make the camera
set the shutter speed.
its not needed.
NIKOPEDIA
Normally, the mirror inside your

camera reects the image up into the
viewnder, then ips up and out of the
way when you take the picture. In Live
View mode, the mirror is moved out of
the way rst, so the sensor is exposed
and you can view the image on the LCD
display instead, just as you can on a
compact camera. You activate Live
Night Portrait
Flash Off mode
mode
Ideal for museums,
The ash res to
theatres or indoor
light your subject,
sports venues,
where using a ash might get but the camera also captures
the background lighting.
you thrown out!
CAMERA SKILLS
The mode dial is the nerve centre

of your camera. Its where you
choose the shooting mode you
want to use. These range from
automatic modes, for novices,
to more advanced options where
you take over some or all of the
cameras functions
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NIKON SOFTWARE
ISO AND WHITE BALANCE

Sometimes you need to take control
to get the colours and exposure
exactly right. Heres how its done
ight can change both in its intensity and its colour, and this
is especially true when youre shooting indoors. While your
camera will attempt to adapt automatically, its often better if
you take control yourself. The cameras ISO adjustment is used when the
light is too dim for normal handheld shooting, while the White Balance
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SHOOTING TECHNIQUE WHITE BALANCE

When to use Auto White Balance and when to use the presets
The camera has an Auto
White Balance option that
measures the colour of the lighting
and then attempts to correct it if it
thinks theres a strong colour cast.
This can work well, provided the
light doesnt deviate too far from
normal. The strong yellow colour of
articial lighting is usually too much
for the camera to cope with, though,
and its correction wont usually
go far enough. In these situations,
its best to use the White Balance
presets, which tell the camera which
correction to apply.
Auto White Balance
Articial lighting
Fluorescent preset
Auto White Balance copes

well for everyday outdoor
shots like this one. Its indoors that
you might need to take over.
Here, the Auto White Balance

has failed to fully correct the
strong yellow/orange cast of the
articial lighting in this mall
but choosing an appropriate

White Balance preset to
match the lighting produces much
more natural-looking colours.
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UNDERSTANDING THE ISO SCALE
CHECK THE HISTOGRAM

This is your best guide to judging exposure
Histogram
ISO 12,800
ISO 10,000
ISO 5000
ISO 4000
ISO 3200
MORE NOISE
ISO 6400
1/3 STOP
HIGH SENSITIVITY
ISO 8000
ISO 2500
NIKOPEDIA
ISO 2000
ISO 1600
ion
ISO 1000
ISO 800
ISO 500
LESS NOISE
ISO 400
ISO 320
ISO 250
ISO 160
ISO 125
ONE STOP
ISO 200
ISO 100
The ISO you need depends not just on the lighting but whether youre using a tripod
But you do when youre shooting handheld
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You dont need high ISOs for tripod shots like this
ESSENTIAL KIT
EXPERT TIP CHOOSING THE ISO

Indoors and after dark, light
levels are very low, and your
camera will adapt by increasing
the exposure time. This can cause
camera-shake, though, because
the camera moves while the shot is
being taken. However, if you increase
the ISO, you turn up the sensitivity
of the cameras sensor, enabling you
to use faster shutter speeds. Higher
ISOs are often useful for handheld
photography, then, but when youre
using a tripod, theres no risk of
camera-shake anyway. Here, stick to
a low ISO setting for the best quality.
NIKON SOFTWARE
LOW SENSITIVITY
ISO 640
TWO STOPS
ISO 1250
Higher ISOs are often useful for handheld

photography, but with a tripod, theres no
risk of camera-shake and you dont need them
CAMERA SKILLS
The histogram displays the tones

in your picture as a bar chart on
the cameras LCD display. You
can view the graph in Playback
mode. What youre looking for is a
histogram that ts neatly within
the scale. If its chopped off at the
left-hand end, it means the image
is underexposed and that darker
areas will come out as a solid
black. If its chopped off at the
right, the image is overexposed,
and brighter areas will just be a
solid white. If the histogram is
clipped in this way, use the EV
compensation dial to increase
or reduce the exposure, then
reshoot the picture and check
the histogram again.
EV compensat
ISO settings go up in xed values, with intermediate

settings available too. High ISOs can be useful in low
light, although the noise in the image increases.
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LENSES & FOCAL LENGTH

The great thing about D-SLRs is
that you can use different lenses,
but how do they actually work?
enses are categorised according
to their focal length. This is
another way of describing their
angle of view, or how much they take
in. The shorter the focal length, the
wider the angle of view hence the term
wide-angle lenses. When you shoot
with a wide-angle lens, you get more in
the frame but objects look smaller. The
longer the focal length, the narrower the
angle of view. You get less in the frame,
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This is what is meant by telephoto lens.

Most lenses these days are zooms, which
is convenient because they cover a range
of focal lengths. The 18-55mm lens
that comes with the Nikon D3300 and
D5300, for example, has a focal range
of 18-55mm, for wide-angle shots at one
end of the range and modest telephoto
ones at the other. The cameras kit lens
is a good all-rounder, but sooner or later,
youll want to expand your shooting
options with extra D-SLR lenses.
200mm
SHOOTING TECHNIQUE HOW TO CHANGE LENSES

Need a telephoto for wildlife close-ups? Heres how to swap lenses!
Changing the lens on
your Nikon camera is very
straightforward, but because
youre juggling the camera body
and two different lenses, you need
to approach it carefully. Dont leave
the insides of your camera exposed
for too long, because this increases
the chances of dust getting in and
sticking to the sensor. Nikon D-SLRs
do have built-in dust-removal
systems, but its best not to cause
problems in the rst place. And
make sure you keep both the front
and rear caps for your lenses!
Preparation is everything
Remove the old lens
Fit the new lens
Its risky to juggle cameras and

lenses while youre standing, so nd
a convenient, at surface and have
your replacement lens ready.
Press the lens release button just

to the left of the lens (looking from
above), and then turn the lens to the
left to release it.
Now line up the dot on the new lens

with the dot on the camera body,
insert it into the lens throat and
twist to the right to lock it.
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WIDE-ANGLE TO TELEPHOTO
LENSES AND PERSPECTIVE

Telephoto lenses dont just make things bigger!
Wide-angle
400mm
(EFL-600mm)
200mm
CAMERA SKILLS
If you look at these two shots

on the right, youll see that
the telephoto version (bottom)
makes the facades of the
buildings in the distance look
much larger, as youd expect.
But something else is happening
too. In the wide-angle shot
(top), objects closest to the
camera look much larger than
those further away, and the
perspective is exaggerated.
But in the telephoto shot
(bottom), theres not so much
difference in size between
the nearest buildings
and those furthest away,
producing a much atter
perspective. By changing
your shooting position and
the lenss focal length, you
can change the perspective
Telephoto
in your shots to match the
mood you want to create.
The focal length of a lens and its angle of view go

hand in hand. Wide-angle lense have shorter focal
lengths, while telephoto lenses have long focal
lengths. The effective focal length (see below), or
EFL, is also given for DX-format SLRs.
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(EFL-300mm)
135mm
(EFL-200mm)
(EFL-90mm)
NIKOPEDIA
60mm
30mm
(EFL-45mm)
18mm
10mm
(EFL-15mm)
Effective
focal length
The cameras kit lens is a good all-rounder,

but sooner or later youll want to expand
your shooting options with extra lenses
DX-format Nikon D-SLRs

have smaller sensors than
the 35mm lm frame,
so the focal lengths are
effectively longer.
ESSENTIAL KIT
EXPERT TIP COMBATING CAMERA SHAKE

Longer focal lengths increase the risk of blur in your pictures
If your lens has VR, you should switch it on
Try bracing yourself against something solid
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Camera-shake happens when

the camera moves during the
exposure, and its more likely with
longer focal lengths because any
shake is made more obvious by the
magnifying effect of the lens. There
are ways in which you can minimise
camera-shake with telephoto
lenses. Many Nikon lenses now
come with VR (Vibration Reduction)
mechanisms, which react to any
movement and counteract it. You
should also brace yourself against
any nearby object, as youll be able to
shoot from a steadier position.
NIKON SOFTWARE
(EFL-27mm)
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SHUTTER SPEED
The shutter speed
controls the length of
the exposure, but its
also a creative tool
he shutter speed is one of
the two ways of controlling
the exposure (the other
is the lens aperture). In normal,
everyday photography, you might
not have to worry too much about
the shutter speed, as long as its fast
enough to avoid camera-shake. But
when youre shooting fast-moving
objects, the shutter speed takes on a
whole new role.
The longer the shutter is open,
the further your subject will move
during the exposure. To freeze
your subject, you can simply use
a fast shutter speed. What many
sports photographers do, though,
is set a slower shutter and pan the
shot, following the subject in the
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This keeps the subject sharp but
blurs the background. See our
expert tutorial on panning, starting
on page 58, to learn the key settings
and skills for this technique.
VIDEO GUIDES
ESSENTIAL KIT
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SHOOTING TECHNIQUE CHOOSING THE RIGHT SHUTTER SPEED

You dont always want to freeze your subjects
Your rst thought might
be to try to freeze moving
subjects by using a fast shutter
speed, but while this can work well
for some sports and action shots,
it can leave the picture looking a
little still and lifeless. Quite often,
a little creative blur can give your
picture more impact, as these shots
of a fairground ride demonstrate.
They show how changing the shutter
speed can really change the mood
of the image. Its not always easy to
predict the best speed to use, so be
prepared to experiment.
Freeze the action
Add a sense of movement
Get creative blur
This shot was taken at a

shutter speed of 1/1000 sec,
but while it has frozen the whirling
carousel, the shot looks lifeless.
With a much slower shutter

speed of 1/15 sec, the blur
adds life and movement (try panning
the camera to blur the background).
Shooting at a shutter speed

of 1/4 sec has produced an
impressionistic whirlwind of colour,
but some details are still sharp.
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THE SPEED SCALE EXPLAINED
SHOOTING WITH FLASH

Professional photographers often use ash to freeze
movement
External Speedlight
One stop =
shutter open
twice as long
1/3200
1/2500
1/2000
Fast shutter
speeds =
sharp images
of moving
subjects
1/1600
1/1250
1/1000
1/800
1/640
1/400
1/320
1/200
1/160
1/125
1/60
Quite often, a little bit of

creative blur can give your
picture a lot more impact than
simply freezing your subject
1/50
1/40
Slow shutter
speeds =
blurred images
of moving
subjects
1/30
1/25
1/20
1/15
ESSENTIAL KIT
EXPERT TIP CONTINUOUS SHOOTING MODES

This is the best way to shoot unpredictable action sequences
On the D3100, the mode switch is on the top
On the D7100, its underneath the mode dial
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VIDEO GUIDES
With some subjects, you can

more or less predict when
key moments are going to happen,
but usually the action unfolds
in an unpredictable fashion and
its difcult to time a single shot
perfectly. This is what your cameras
Continuous shooting mode is made
for. The speed you can shoot at
depends on the camera, but its
quoted as fps, or frames per second.
The number of shots you can take
will also depend on the camera, but
choosing JPEGs rather than RAW
les will let you shoot more.
NIKON SOFTWARE
1/100
1/80
SLOW SHUTTER SPEED
1/250
NIKOPEDIA
1/500
FAST SHUTTER SPEED
1/4000
CAMERA SKILLS
This is often called slow sync

ash, because the ash is
synchronised with a slower
shutter speed than normal,
so the background lighting
is recorded as well. The main
subject, close to the camera, is
frozen by the ash. This tends
to work best when the lighting is
quite low anyway, such as
near the end of the day. Try
it out by setting your Nikon
to Shutter Priority (S) mode
and choosing any shutter
speed of 1/250 sec or slower
this is the maximum ash
synchronisation speed, and
will depend on the camera.
If the background is too
dark, choose a slower
shutter speed; if its too
Slow sync ash
light, try using a faster one
instead.
Just like aperture settings and ISOs, shutter

speeds go in a xed sequence, though sometimes
intermediate values are used too.
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FOCUS AND APERTURE

Your D-SLRs autofocus will get
your subjects sharp, but lens
aperture plays a part too
he lens aperture is just
one of the controls used
to get the exposure
right. It controls the amount of
light passing through the lens,
while the shutter speed controls
the length of the exposure.
The size of the lens aperture
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the picture. Shallow depth of
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subject is sharp, and any objects
in the background or nearer to
the camera are out of focus. You
get this from using large lens
apertures. However, you can
also increase the depth of

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aperture, which makes
objects at different distances
look sharper.
Its important to understand
how your cameras autofocus
system works so you can make
sure its focusing on the right
thing. But its also important to
take aperture and depth of
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blur backgrounds or make your
shots look perfectly sharp from
the foreground into the
horizon in the far distance.
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NIKOPEDIA
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SHOOTING TECHNIQUE MAXIMIZING DEPTH OF FIELD

To get two objects sharp, dont focus on either of them!
If youre taking a shot where
you have two subjects
at different distances from the
camera, you can use depth of eld
to make them both appear sharp.
First, choose a lens aperture small
enough to give you the depth of eld
you need f/16 or f/22, say. The trick
now is not to focus on either one of
the objects, but to focus at a point
roughly one-third of the distance
between them. To do this, youll
need to switch to manual focus. This
makes the best use of the available
depth of eld.
Focusing on the nearest
Focusing on the farthest
Focusing in between
If we focus on the ower

nearest the camera, the
one in the background is blurred
because its too far out of focus.
If we focus on the one at

the back, the one in front
becomes blurred. Were not making
the most of the depth of eld.
If we switch to manual focus

and choose a point between
the two objects, both come out
acceptably sharp.
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DEPTH OF FIELD EXPLAINED
Who chooses what to focus on you or the camera?

Foreground
f/5.6
Wider apertures = less depth of eld
Background
f/11
Mid-apertures = best image quality
f/16
NIKON SOFTWARE
MORE DEPTH OF FIELD
f/8
NIKOPEDIA
Your D-SLR uses a number of

focus points spaced around the
frame to allow for subjects that
arent in the centre. But how does
the camera choose the focus
point, and how can you take over?
Nikon D-SLRs offer three main
focus modes: Single-point AF,
Dynamic-area AF and Autoarea AF. Auto-area AF is fully
automatic, and the camera will
focus on whatevers nearest
(the tree trunk, above right).
To focus on the background
instead, switch to Single-point
AF mode and place the focus
point in the centre using the
four-way controller on the
back of the camera.
f/4
CAMERA SKILLS
FOCUS POINTS
LESS DEPTH OF FIELD
The aperture you use is the main factor in dictating

how much of the scene appears pin-sharp. The
narrower the aperture opening (and the larger the
f/number) the more of the image will be in focus.
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CAMERA SKILLS
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f/22
Narrower apertures = more depth of eld
ESSENTIAL KIT
EXPERT TIP FOCUS MODES

Your camera offers different autofocus options for different situations
The D90s focus mode button is on the top
The D7100s is at the side of the lens mount
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VIDEO GUIDES
Nikon D-SLRs offer a choice of

focus modes to suit different
subjects and styles of photography.
These are accessed via the menus
or exterior controls, depending on
the model. AF-S mode is designed for
single shots, and the camera waits
until it has achieved focus before
it takes the picture. In AF-C mode,
it focuses and shoots continually
to keep up with moving subjects.
In AF-A mode, it selects the Single
or Continuous AF automatically,
depending on whether it detects a
moving subject.
INTRODUCTION
NIKOPEDIA
CAMERA SKILLS
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VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
Do nature justice with our jargon-free guide to

getting sharper images every time you shoot
lurry pictures are the bane of
every photographers life. It
doesnt matter what camera, lens
or kit you own, or how much experience you
have some of your subjects just wont look
as crisp as youd like them to.
If you dont think you have a problem, the
chances are that youre not looking at your
results closely enough, or arent being
adventurous enough with your pictures.
Trust us youll soon become obsessive
about sharpness!
While ending up with some soft shots is
par for the course, it makes sense to do
everything possible to improve your success
rate. Over the next 12 pages, well reveal a
number of ways to improve your skills so
that you can get pictures that are much

crisper straight out of the camera.
To get sharper images, you need to use the
right combination of settings and skills.
Theres no magic solution a faster shutter
speed or smaller aperture isnt always the
answer, as youll discover. To get the best
results from your Nikon you have to avoid
camera-shake, control depth of eld, focus
on the right point, get the best from your
lens and make the most of your computers
sharpening tools. We know that sounds like a
lot to take in, but youll be amazed at the
difference a few easy tricks can make.
Follow our simple steps and we guarantee
youll need to delete far fewer out-of-focus
or blurred pictures this spring
WHAT YOULL LEARN...
BEAT CAMERA SHAKE
TRIPOD KNOW-HOW
MASTER DEPTH OF FIELD
LENS SKILLS
SHARPENING SOFTWARE
Get to grips with setting

the right shutter speed
How to brace the camera

for the crispest pictures
Understand how aperture

affects sharpness
How to nd the sweet spot

of your zoom lens
All the advice you need to

edit your pictures
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INTRODUCTION
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CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
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VIDEO GUIDES
Super sharpness
Choosing the right aperture,
focusing in the right place
and controlling depth of eld
are key to getting images
that are bitingly sharp in just
the right places
INTRODUCTION
CAMERA SKILLS
CAMERA SKILLSWorldMags.net
BEAT CAMERA SHAKE
SETTING THE RIGHT

SHUTTER SPEED
How fast does an exposure have to
be to give you razor-sharp results?
he rst thing you need to
consider when youre aiming
to capture sharp pictures is
whether your camera is steady
enough. If the scene you see through
your D-SLRs viewnder is wobbling
around as you press the shutter, youre
more likely to end up with a blurred
photograph.
NIKOPEDIA
ESSENTIAL KIT
NIKON SOFTWARE
HOW SLOW CAN YOU GO?

The minimum handheld shutter
speeds for any popular Nikon
D-SLR, such as a D3300 or D7100,
if not using Vibration Reduction:
FOCAL LENGTH
SHUTTER SPEED
10mm
1/15 sec
18mm
1/30 sec
28mm
1/50 sec
55mm
1/90 sec
100mm
1/150 sec
250mm
1/400 sec
400mm
1/640 sec
Just how blurred the image looks will

depend on how long the shutter
remains open. The slower the shutter
speed, the more any camera motion
will show up in your shot. Fortunately,
the opposite is also true the faster
the shutter speed, the sharper your
pictures will become.
The best shutter speed to use
depends on the angle of view of the
lens youre using you need a faster
shutter speed for telephoto focal
lengths than you do for wide-angle
settings. To work out the longest
shutter speed you can use handheld
for any lens or zoom setting, you need
to know the optics effective focal
length. For most Nikon D-SLRs you
multiply the actual focal length by 1.5,
then divide 1 by this number to get the
safe handheld shutter speed.
So, if youre using an 18mm zoom
setting, you need a shutter speed of
1/27 sec or faster. The closest speed
your camera offers is 1/30 sec so this
is the slowest handheld shutter speed
you should attempt to use.
CHANGING THE SHUTTER SPEED

How to take control of exposure times on your Nikon
Firstly, point your Nikon D-SLR at your

subject and press the shutter release
button lightly.
VIDEO GUIDES
01
To change the shutter speed, set the mode

dial on top of the camera to Program (P),
Aperture Priority (A) or Shutter Priority (S).
Now rotate the thumbwheel on the back of

the camera. As you do this, the shutter
speed will change, as will the aperture.
To set a specic shutter speed, work in

06 Shutter Priority (S) or Manual (M) mode.
Bear in mind that you might need to set a higher
ISO in order to achieve the desired speed.
You can now check the shutter speed in

one of three ways through the viewnder,
on the top-plate LCD screen (if your camera has
one) or on the rear monitor.
02
Look at the display in the viewnder. The

rst number is the shutter speed (60
represents 1/60 sec, 500 is 1/500 sec, and so on).
03
04
05
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04
02
01
03
Zoom position
To avoid camera-shake, you need to
use a faster shutter speed with a
telephoto zoom setting (below) than
you do with a wide-angle one (left)
INTRODUCTION
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CAMERA SKILLS
TELEPHOTO: 1/250 SEC

NIKOPEDIA
TECHNIQUES EXPLAINED
LOCKING UP THE MIRROR FOR SHARPER SHOTS
In photography, there are no such things as good vibrations
NIKON SOFTWARE
When the shutter speed drops, theres a

greater risk of your pictures being blurred.
This wont just be down to camera-shake it
will also be because of the the vibrations
caused by the mirror flipping up and down
inside the camera. Usefully, Nikon D-SLRs
from the D7000 and above include a Mirror
Lock-up function (MUP in the image on the
right), which ensures the mirror moves
out well before the shutter is opened. This
means you avoid the vibrations and resulting
camera-shake created by the mirror.
ESSENTIAL KIT
LIVE VIEW
No Mirror Lock-up
function? No problem!
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VIDEO GUIDES
Live View can be used a substitute for

Mirror Lock-up on cameras such as the
D3100 and D5100, which dont have that
function. The majority of recent Nikon
D-SLRs feature a Live View mode that
locks the mirror up when Live View is
selected. The mirror wont drop down
until Live View is stopped. The feature is
more useful than Mirror Lock-up, as you
can continue to check framing, focus and
exposure on the rear screen.
INTRODUCTION
CAMERA SKILLS
TRIPOD KNOW-HOW
NIKOPEDIA
GIVE YOURSELF
MORE SUPPORT
Improve the sharpness of your pictures
instantly with the help of a tripod
ne of the most effective
ways to eliminate camerashake is to use a tripod. A
tripod enables you to use any shutter
speed you like and still get a shakefree shot of a stationary subject.
Youre then free to select the aperture
you want to ensure maximum
sharpness.
Any slight tripod movement can be
seen in your shots, particularly with
night exposures that are seconds
long. Therefore, use a remote release,
wireless control or the cameras
self-timer function to re the shutter
and minimise any vibrations.
Its important to remember that
not all tripods are made equal, and a
lightweight model that seems solid
ESSENTIAL KIT
NIKON SOFTWARE
enough in a camera shop might not

give adequate support when youre
shooting in a gale on the edge of a cliff.
Choose the sturdiest model you feel
comfortable carrying.
If you dont fancy lugging a tripod
around, there are several other types
of support to consider. A monopod can
be a good choice when youre shooting
sports, for instance, as it gives you
more exibility for panning the
camera to follow the action.
For low-level photography or
picture-taking in positions where it
would be too awkward to set up a
tripod, a GorillaPod or beanbag can
provide excellent stability. Theyre
especially good when used with a
Vibration Reduction (VR) lens.
USE VIBRATION REDUCTION

Nikons VR lenses can help you shoot in low light without a tripod
A lens with built-in Vibration Reduction

(look for VR on the barrel) enables the use
of a slower shutter speed than is recommended
for handheld photography.
VIDEO GUIDES
01
Although a Nikon VR II lens can give you up

to four stops of handholdability, it cant
compensate for subject movement. Potentially,
you might be able to hold a 200mm VR II lens at
1/20 sec instead of 1/320 sec, but your subject
might have moved during the longer exposure
time, leading to a blurred result.
02
Only a few VR lenses can be left with

Vibration Reduction active when the
camera is mounted on a tripod. Most require VR
to be switched off, otherwise the lens will
actually introduce blur.
03
Some VR lenses let you switch between

Normal and Active mode. Active mode is
designed to reduce the severe vibrations that
occur when you shoot from a car, boat or train. It
cant distinguish any intended panning motion
though, so stick with Normal for action shots.
04
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Even when youre using VR,

take short bursts of shots to
increase the chance of at least
one being sharp
Take it steady
Even when theres plenty of

light, using a tripod enables
you to select the lowest ISO
sensitivity and smaller
apertures for the best-quality
pictures. A tripod also slows
you down, forcing you to think
more about composition
INTRODUCTION
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SETTING UP YOUR TRIPOD
NIKOPEDIA
Try to choose a tripod that allows you to raise

the camera to your eye level just by extending
the legs raising the centre column
effectively turns your three-legged friend into
a shaky monopod. Avoid touching the tripod
during the exposure, and use the self-timer or
a remote release to re the shutter. If your
camera has Mirror Lock-up (see page 23),
activate this to prevent mirror slap vibrations
softening the shot. Some tripods include a
hook on the bottom of the column use this to
hang a heavy bag from
in windy conditions, as this
will lower the centre of
gravity and
stabilise
the legs.
CAMERA SKILLS
Youll still get unsharp shots if you

dont use the right tripod technique
NIKON SOFTWARE
Boost your hit rate by

bracing the camera
Twist the tripod

collars foot to the
top of the lens, so
you can grip the
barrel
Lean your your

elbows on a suitable
surface if possible
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Kneel on one leg,

sit or lie down to
get a stable base
VIDEO GUIDES
Its possible to get sharp shots at slow

shutter speeds without using a tripod
if you support the camera correctly.
Grip the body with your right hand and
cradle the lens in your left hand. Wrap
the camera strap tautly around your arm
to add stability, and tuck your elbows
in. Lean on a rm support if possible.
Squeeze the trigger gently to take a
photo dont stab at it. Dont hold your
breath, either; breathe out, then re.
Pull the camera

strap taut to add
additional stability
ESSENTIAL KIT
BRACE POSITION
INTRODUCTION
MASTER DEPTH OF FIELD
CAMERA SKILLS
CONTROLLING
WHATS IN FOCUS
Change the lens aperture to control
how much of a picture looks sharp
owever you support your
camera and however fast
you set the shutter speed,
theres no guarantee that everything
in your picture will be sharp.
This is because lenses can only
focus precisely on one distance at a
time. Fortunately, parts of the image
at other distances dont necessarily
look unsharp and out of focus theres
always a range of distances that look
acceptably sharp to the human eye.
This range is known as depth of
eld, and can stretch for miles (from
your feet to the horizon) or just a few
millimetres (the width of a ys eye).
Three key factors dictate how much

depth of eld you have to play with:
The smaller aperture

means the foreground
looks sharp
With a wider aperture,

only the centre of the
scene looks sharp
1. Focused distance The closer you

are to a subject, the less depth of eld
available. Its the distance at which
you focus the lens thats crucial.
2. Focal length The wider the angle
of view of your lens, the more depth of
eld you have to work with.
3. Aperture The narrower the
aperture, the more depth of eld. A
wide (large) aperture of f/4 will mean
that less of a scene appears in focus
than if you used a narrow (small)
aperture of f/16.
F/16
Image: Bhuminan Piyathasanan
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
VIDEO GUIDES
In focus
To make a landscape look
sharp from the foreground to
the horizon, choose a small
aperture, and focus about a
third of the way into the scene
Nikon D7000, Sigma 10-20mm f/3.5,
1/125 sec, f/10, ISO100
The big picture

The size of the cameras
sensor affects depth of eld.
For any particular angle of
view, full-frame sensors such
as the one in the D800 offer
less depth than the smaller DX
sensors in most Nikons
F/5.6
MAGNIFY THE SHOT
AUTOFOCUS SKILLS
How you can check image

quality on your D-SLR
Precise focusing can make

or break a photos success
You can use the LCD to check whether

key parts of your picture look sharp.
Switch to Live View and tap the button
with the magnifying glass and + sign
to enlarge the image. You can now
twist the focus ring to get a precise
part of the subject in focus. When
playing back your shots, hold down
the same + button, then use the
arrow keys to move around the image
and spot any blurred parts.
Not everything in the frame needs to look sharp, and

limited depth of eld can be unavoidable. If youre
photographing wildlife, youll often need a long
telephoto lens and a fast enough shutter speed to
allow for a moving target and camera-shake.
In situations where depth of eld is limited,
accurate focusing is key. The shot will look sharp
if only the subject is sharp. However, with so little
depth of eld to play with, its easy to get things
wrong particularly if you leave the camera in full
auto mode and let it decide what should be in focus.
26 The Ultimate Nikon SLR Handbook
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INCREASING DEPTH OF FIELD

Try using a small aperture to make
more of a scene look sharp
Decrease the aperture using A, S or P modes, using the

thumbwheel to alter the setting.
02
Look at the display in the viewfinder. The second number

from the left is the aperture.
03
04
As you alter the aperture, the shutter speed will also

change, and at narrow apertures the shutter speed will
often become too slow to be of use.
If you struggle to make a subject look sharp when shooting
close-ups, try zooming out or taking a step backwards.
NIKOPEDIA
01
CAMERA SKILLS
INTRODUCTION
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NIKON SOFTWARE
Another way to check settings is to half-press the shutter

button aperture and shutter speed appear on the top plate
ESSENTIAL KIT
VIDEO GUIDES
Try switching the autofocus to Single-point AF, and

then select the one red AF point in the viewnder that
lines up with the subject. For more precision, use the
central AF point, and the focus lock to focus on any
point in the frame.
To use the focus lock, point the AF point at the
subject, then gently press the shutter button halfway
down. A green circle will light up in the viewnder to
conrm that the focus is locked. Keep your trigger
nger pressed down, recompose, then re.
All in the eyes

In the rst shot, the camera is focused on the
birds breast, leaving the eye blurred
Nikon D90, Sigma 120-400mm f/4.5-5.6, 1/500 sec, f/5, ISO250
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INTRODUCTION
LENS SKILLS
CAMERA SKILLS
HOW TO DO MORE
WITH YOUR LENS
Do your pictures look soft despite perfect
technique? Try a different aperture
nce youve selected the
aperture, you need to get
enough depth of eld for
your shot, and have a fast enough
shutter speed to avoid camera-shake.
You might still have some choice over
the actual exposure settings you use,
though. For example, an exposure of
1/250 sec at f/11 may give you as sharp
a shot as shooting at 1/60 sec at f/5.6.
If you want to capture the sharpest
shots possible, which you choose can
end up proving critical.
NIKOPEDIA
F/16
F/32
TESTING YOUR LENS

<RXFDQQG\RXURSWLFVVZHHWVSRWE\
testing it at different apertures
Set your D-SLR on a tripod and attach a sheet of newspaper

to a flat wall. The share price pages from a broadsheet
work best, as you get small text across two pages.
01
Make sure your lens is pointed straight at the paper. Focus

on it, then take a series of pictures at each full aperture
stop (f/4, f/5.6, f/8, f/11, f/16 and f/22, for example).
02
Look at the shots on your PC screen, zooming in to 100 per

cent. Youll see a difference in clarity and contrast between
each setting.
03
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
F/5.6
The quality and resolution of a lens

will vary depending on the aperture
you set. It doesnt matter how much
you spend on your optic it wont give
the best results when used at its
widest, maximum aperture. Equally, a
softer, less dened image will be
captured at the narrowest aperture
due to a phenomenon known as
diffraction. The result is that your lens
has an optimum aperture somewhere
in the middle of the range this will
give you the best results.
TRY AF FINE TUNE

If a lens doesnt focus sharply
then it may need to be calibrated
Sometimes, pictures turn out slightly less sharp
through no fault of your own. It could be that
your D-SLR or lens isnt calibrated, so the
autofocus is slightly inaccurate in all shots. On
high-end Nikon D-SLRs such as the D300s and
D7000, theres an autofocus tuning option to
correct the problem. Select AF ne tune in the
Setup menu, and take a series of test shots,
dialling in adjustments to rene the result.
Download a free test pattern from
http://tinyurl.com/microfocus
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INTRODUCTION
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CAMERA SKILLS
NIKOPEDIA
Against the rules

Just because youre shooting a
landscape or close-up doesnt
mean you have to use the
narrowest aperture setting
NIKON SOFTWARE
Reveal more detail

Your choice of aperture doesnt
just affect the depth of eld in a
picture, it also determines how
much detail is resolved
ESSENTIAL KIT
ZOOM OR PRIME?
How do you get the best from a zoom,
DQGVKRXOG\RXXVHDSULPHLQVWHDG"
A zoom is more versatile than a prime, but youll

sacrice a degree of sharpness for the convenience
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Prime lenses are pricey,

but optically superb
VIDEO GUIDES
As a general rule its best to avoid the extremes of a zoom lens, as

the optical performance tends to be weakest at the full wide or full
telephoto setting. The maximum aperture of many zoom lenses
also changes as you zoom in with them. For instance, a 70-300mm
f/4.5-5.6 runs from f/4.5 at 70mm through to f/5.6 at 300mm. As the
aperture decreases, the shutter speed needs to become longer to
maintain the same exposure, increasing the likelihood of camerashake. Prime lenses, on the other hand, have xed focal lengths and
often very wide maximum apertures. As well as enabling the use
of fast shutter speeds, they contain fewer elements than zooms,
making them lighter and, generally, sharper.
INTRODUCTION
TOO MUCH SHARPENING
CAMERA SKILLS
NO SHARPENING
SHARPENING SOFTWARE
NIKOPEDIA
GET SHARPER
SHOTS LATER ON
VIDEO GUIDES
ven with the right aperture,

shutter speed and focus
settings, photos taken
straight from your camera can still
look slightly soft and lacking in clarity.
Theres no need to be despondent or
blame your tools this is, in fact,
perfectly normal. Your Nikon D-SLRs
sensor is designed so that images
arent as sharp as they could possibly
be. The reason for this is that the
grid-like pattern of the individual
photo-sensitive cells on the sensor
ESSENTIAL KIT
NIKON SOFTWARE
Learn how to use digital sharpening

to create the clearest possible pictures
would lead to strange interference
patterns on your pictures if they were
super sharp. Therefore, a lter in front
of the sensor adds a slight amount of
blur to each image.
Its necessary to add a degree of
electronic sharpening to every picture
and the Unsharp Mask (USM) lter in
Photoshop offers the ideal solution.
This tool allows you to alter the
amount and location of sharpening
applied to suit the image youre
working on.
IN-CAMERA
SHARPENING
Play with the sharpening
applied as you shoot
The easy option for digital sharpening
is to ramp up the Sharpening setting
in your Nikons Picture Control menu.
However, some shots need more
sharpening than others, and if you
apply too much then image quality can
fall. Digital sharpening isnt applied to
RAW les, but if you shoot JPEGs, any
in-camera sharpening is permanent.
Choose Set Picture Control

in your cameras Shooting
menu. There are six Picture
Control presets. Highlight one,
then press the right arrow key to
enter the Quick Adjust screen.
Here, you can make ve levels of
modication to the overall effect.
01
With Quick Adjust,

sharpening is altered
automatically in line with other
parameters. Tap the down arrow to
highlight Sharpening and change it
manually. There are 10 levels of
adjustment the yellow underline
indicates the original setting.
02
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Pressing and holding the

camera button with the
magnifying glass and sign
brings up a grid. Contrast is the
vertical axis on the graph the
higher the contrast, the greater
the perceived sharpness your
image will have.
03
CORRECTLY SHARPENED
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THE UNSHARP MASK AT A GLANCE

Photoshops Unsharp Mask
filter provides you with three
sliders, each of which affects
sharpness:
Amount
Radius
Nine top tips to help you get more

IURPWKH8QVKDUS0DVNOWHU
The USM lters sliders work in unison, so the

effect of one can be cancelled out by another.
The USM lter offers two types of sharpening.
One works overall, the other strengthens edges.
With a landscape, lots of detail will need a little
sharpening. Keep Radius and Threshold low.
NO SHARPENING
For simpler compositions, just sharpen the

edges. Use a higher Radius and high Threshold to
make sure any even areas of tone dont look grainy.
05
07
08
09
06
EDGE SHARPENING
The amount of Radius needed will vary depending

on the number of pixels in the picture.
Youll need to do more sharpening for shots that

are going to be printed.
How much sharpening you do is a matter of taste
it can also reveal things you may want to hide!
Bright or dark outlines around subject edges are

a sign of over-sharpening. Also look out for grain
and noise in areas you didnt want to be sharpened.
Even apparently-clear,
high-contrast shots
need digital sharpening
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View at 100 per cent and

check the edges as you
drag the sliders
VIDEO GUIDES
02
03
04
01
Sharpening should be your nal editing task.

Only attempt it after all other corrections.
USM starting point: Amount

at 100%, Radius at 1 pixel
and Threshold at 5 levels
ESSENTIAL KIT
THE GOLDEN RULES
Sharpening works on the

edges of a subject by
increasing the contrast
at these points, making
these outlines stand out
more prominently. The
higher the Radius amount,
the stronger the sharpening
effect. Its measured in
pixels, as this is the width of
the sharpening effect.
Typical setting: 1-8 pixels
Good starting point: 1 pixel
NIKON SOFTWARE
Digital vs optical
Were not yet at the stage
where digital sharpening can
rescue a severely blurred
image (though Adobe may be
working on this for Photoshop
CS7). Always work on the
sharpest image you have
Confusingly, with this slider,

the higher the amount set,
the lower the sharpening
effect. This control defines
what counts as an edge for
the sharpening applied by
the other two sliders. At
0 levels every pixel in the
picture counts as an edge, so
is sharpened. At high values
(25 levels and above, for
example) only high-contrast
edges are sharpened.
Typical setting: 1-15 levels
Good starting point:
5 levels
NIKOPEDIA
This is like a volume

adjustment the higher the
percentage, the stronger the
sharpening effect. Whether
you use a low or high
percentage will depend on
the position of the other two
sliders.
Typical setting: 50-200%
Good starting point: 100%
Threshold
CAMERA SKILLS
Finding yourself at a loss over where to

start in Photoshop? Try these settings
INTRODUCTION
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NIKOPEDIA
CAMERA SKILLS
LL ABOUT
The ability to change lenses is your Nikon D-SLRs
strongest feature. After all, the camera just captures
the image its the lens that controls what it sees
he standard, or kit lens that came
with your Nikon D-SLR can cope with a
wide range of subjects, but it does
have its limits. It offers a range of focal lengths,
from wide angle to a short telephoto setting
that will cope with the majority of everyday
situations, but its soon out of its depth when
you want to take on a wider range of subjects.
This becomes obvious when you try to shoot
sports or wildlife subjects, for example. To do
this properly you will need a telephoto lens so
that your subjects arent just tiny dots in the
distance. In fact, a telephoto is usually the rst
lens that D-SLR owners buy to complement
their standard zoom.
And then at other times youll nd yourself in
a situation where you cant get everything in
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ESSENTIAL KIT
NIKON SOFTWARE
the frame and you cant step back any further.

This is where you need a super wide-angle
zoom. These are perfect for shooting in
cramped interiors or narrow city streets.
But lenses will have a powerful creative
effect, too. Your choice of lens will have an
inuence the scale, perspective and
proportions of the objects in your picture.
Telephoto lenses atten perspective and can
give a powerful sense of scale, while wideangles exaggerate angles, distances and
differences in size, while producing wild
and dramatic effects.
Thats just the start. Other lens types, such
as macros and sheyes, can completely change
the way you see the world, so join us as we
explore the amazing world of lenses
WHAT YOULL LEARN
KIT LENSES
TELEPHOTOS
How to get the best from your How to shoot far-away

Nikons standard zoom lens
subjects more effectively
WIDE ANGLES
MACRO LENSES
SPECIALIST LENSES
See the world from a whole

new perspective!
Discover the amazing world

of close-up photography
Lenses that distort, enhance

and transcend reality!
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CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
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INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
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STANDARD LENSES
WHAT YOUR KIT

LENS CAN DO...
Most Nikon D-SLRs are sold with a
standard or kit lens. It may seem
like a basic option, but theres more
to kit lenses than you might think
ost Nikon D-SLRs come with Nikons 18-55mm zoom. This has
a 3x zoom range, from wide-angle to short telephoto and you
can nd out what this means using our handy focal length guide,
opposite. But a zoom lens does more than just magnify your
subject. It changes the perspective too. So before you invest in
new lenses for your Nikon, you need to make sure that youre
getting the best from the one youve already got!
PERSPECTIVE POINTERS
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they change the whole perspective of the picture too
The obvious effect of a zoom is to make your subject bigger or smaller,
but theres another effect too, which is especially noticeable with
portraits. If you use a wide focal length and get up close, your subjects
features are distorted and the results are very unattering! But if you
step back and use your lenss longest zoom setting (typically 55mm),
the perspective is attened, and your subjects look much more natural.
18 mm
55 mm
Dont shoot portraits with your zoom at its widest setting!

Instead, use the longest focal length and stand back.
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STANDARD CHOICE
FOCAL LENGTH & ZOOMS
Jeremy Walkers spectacular shot of

Portland Bill Lighthouse was taken at a
focal length of 50mm, right in the middle
of the zoom range for his Nikon 24-70mm
f/2.8, and equivalent to the standard
50mm prime lenses on lm SLRs.
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Your Nikons standard zoom covers just

a fraction of the focal lengths available
Heres how the same scene looks when it is shot
CLOSE ENCOUNTERS
10mm
Your standard zoom can focus closer

than you think. This was taken with the
Nikon 18-55mm f/3.5-5.6 kit lens. The
minimum focus distance doesnt
change, so the secret is to zoom to the
maximum focal length to get the
greatest magnication.
10mm fisheye
Fisheye lenses offer
the widest angle of view,
but straight lines are
distorted into curves.
10mm
zooms dont go as wide as

sheyes, but they do
preserve straight lines.
18mm
18mm wide-angle
This is as wide as the
NIKOPEDIA
Exposure: 1/400 sec, f/10, ISO200

Lens: Nikon 18-55mm f/3.5-5.6 VR
10mm superwide
Super-wideangle
CAMERA SKILLS
using different lenses at different focal lengths on a

DX-format Nikon D-SLR. The standard 18-55mm
zoom offers a reasonable range, but youll nd that
super wide-angle lenses will increase your picturetaking possibilities enormously.

Lens: Nikon 24-70mm
standard zoom will go,

but its enough for most
shooting situations.
55mm telephoto
This is the maximum on
the standard zoom, but
for many subjects youll
need longer focal lengths.
200mm
200mm telephoto
This is a short-medium
telephoto ideal which is
okay for many types of
sport/action shot.
400mm
sports photography youll

need a longer, more
specialised telephoto.
LENS TYPES KIT ZOOM
ESSENTIAL KIT
400mm telephoto
For wildlife and some
NIKON SOFTWARE
55mm
The everyday lens for your camera
Exposure: 1/20 sec, f/2.8, ISO100

Lens: Nikon 24-70mm f/2.8
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LOW LIGHT
A standard zoom is ne for low light shots, such as Jeremy Walkers
shot of a New York taxi. A wider maximum aperture will allow faster
shutter speeds, but the standard lenss VR system cuts shake too.
Nikon 18-55mm f/3.5-5.6 VR

This is the lens supplied with many Nikon D-SLRs. It
covers the most useful everyday focal lengths.
There are alternatives. The
17-55mm f/2.8 offers a similar
range, but with a faster f/2.8
maximum aperture across the
zoom range, while the 16-85mm
f/3.5-5.6 offers slightly wider
and longer focal lengths.
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TELEPHOTO LENSES
YOUR FIRST
SECOND LENS?
IN THE THICK OF THE ACTION

Adam Duckworths spectactular shot
captures the pile up at the start of a
motocross race. The telephoto lens
compresses the action and makes the riders
look as if theyre on top of each other.

Lens: Nikon 300mm f/2.8
For many subjects, your kit lens

just wont zoom in far enough.
Thats when you need a telephoto
NIKOPEDIA
oull need a telephoto lens for most kinds of sport, wildlife

photography and, sometimes, for landscapes and travel. You
can get a superzoom lens such as the Nikon 18-200mm or brand
new 18-300mm to cover both standard and telephoto focal
ranges, but most users opt for a separate lens such as the Nikon
70-300mm. A telephoto lens increases the range of subjects that
you can shoot, but using it to create effective compositions takes
a certain amount of skill, and the risk of camera-shake is higher so
you need to pay attention to shutter speeds too.
ESSENTIAL KIT
NIKON SOFTWARE
DX vs FX
The size of your Nikon D-SLRs sensor has an
effect on a lenss effective focal length
Nikon D-SLRs come in two different formats: FX and DX. The
professional FX cameras have the same size sensor as 35mm
lm and are also called full-frame cameras. But the sensors
in Nikon DX-format SLRs are smaller. This means that they
capture a smaller angle of view, which in turn makes the
magnication appear greater. On a DX-format Nikon, a 300mm
lens will actually look like a 450mm lens its focal length is
300mm, but its effective focal length is 450mm. Some
professionals prefer DX-format Nikon cameras for longer
range work because of the way they increase the effective
focal length of their telephotos.
DX format
The smaller sensor in

DX format cameras
makes subjects look
larger (left) compared
to FX cameras (below).
FX format
CREATIVE BLUR
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Paul Harris has used a

telephoto with a
deliberately slow
shutter speed to give
this rafting shot extra
movement and drama.

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CAMERA SHAKE & MOVEMENT
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How do you make sure your

telephoto shots come out sharp?
Camera-shake is far more likely
Focal length
(DX format)
Minimum safe
speed (seconds)
60mm
40mm
1/60sec
80mm
53mm
1/80sec
100mm
67mm
1/100sec
83mm
1/125sec
160mm
107mm
1/160sec
200mm
133mm
1/200sec
250mm
167mm
1/250sec
320mm
213mm
1/320sec
400mm
267mm
1/400sec
500mm
333mm
1/500sec
640mm
427mm
1/640sec
800mm
533mm
1/800sec
1000mm
667mm
1/1000sec
LENS TYPES TELEPHOTO

Fill the frame with distant subjects
DEPTH OF FIELD

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Telephoto lenses produce

very shallow depth of eld,
which can create wonderfully
atmospheric effects. Jeremy
Walkers photograph of
poppies on the Somme was
taken with a Nikon 70-200mm
f/2.8 at its maximum aperture.
Try this: Nikon 70-300mm f/4.5-5.6 VR

This is one of Nikons most versatile telephoto
zoom lenses because it covers a good range of focal
lengths and because it can be used on both DX format
cameras and FX format D-SLRs if you upgrade later.
Alternatives include the cheaper and lighter Nikon
55-200mm f/3.5-5.6
VR lens (for DX
cameras only), or
Nikons professional
FX-format 70-200mm
f/2.8 VR.
ESSENTIAL KIT
To reduce the risk of shake, make sure youre using

a shutter speed high enough for the zoom setting.
NIKON SOFTWARE
125mm
NIKOPEDIA
Focal length
(FX format)
CAMERA SKILLS
with telephoto lenses because they

magnify any camera movement.
But there is a way to work out safe
shutter speeds for handheld photography.
You take the effective focal length of the
lens (see the DX vs FX box) and divide it into
1 to get the minimum safe shutter speed.
Some Nikon lenses come with VR
(Vibration Reduction), which offers an
advantage of up to four stops. In other works
you may be able to use shutter speeds four
times slower without shake. .
But note that camera-shake and
subject movement arent the same thing!
You still need fast shutter speeds to
freeze movement.
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WIDE-ANGLE LENSES
GETTING THE
WIDER VIEW
Wide-angle lenses dont just let you
get more in. They dramatically
change the way the world looks
f a telephoto is your rst extra lens, a wide-angle zoom should
be your second because their creative impact is just as
important as their practical value. You can use them to capture
broad, sweeping landscapes or tall buildings, of course, but they
also let you get really close to your subjects, and its this that
produces those weird and wonderful wide-angle perspectives.
This makes objects in the foreground look much larger and the
background smaller. The wider the lens, and the closer you get,
the more exaggerated the effect becomes.
CONVERGING VERTICALS
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ESSENTIAL KIT
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NIKOPEDIA
How do you stop tall buildings leaning inwards?

Its not the lens, its where you stand...
Wide-angle lenses give their strong converging perspective effect
because you are getting right up close to your subject and tilting
the camera more. This can cause a problem with architectural
shots because it produces converging verticals, where the sides
of the building appear to lean inwards. The secret of avoiding this
outcome is to move further back so that you can keep the camera
level, and nd something interesting to ll the foreground.
10mm
10mm
WIDE OPEN SPACES

You get converging verticals because youre tilting the camera.
You need to move further back and shoot with the camera
The converging lines of the jetty really draw you into Jeremy Walkers
atmospheric landscape shot, and he did it by using a wide-angle lens.

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USING DEPTH OF FIELD
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How to control the near-to-far

sharpness in your pictures
In theory, only the object youve focused on will be
5m
1m
20m
NIKOPEDIA
15m
10m
CAMERA SKILLS
truly sharp; in practice, objects nearer the camera or

further away can look sharp because theyre out of
focus by such a small amount that you cant really see
it. This is the depth of eld in the picture.
Wide-angle lenses have more depth of eld than other
types, and you can exploit this in a very interesting
way using the hyperfocal distance.
The idea is to get both innity (the distant
background) and the nearest part of your subject right
at the limits of the depth of eld. This means choosing
the right lens aperture and focus point. But dont
worry, because weve done it for you see the table
below. Its based around a focal length of 18mm on a
DX format Nikon D-SLR.
For different focal lengths, try using
the excellent online calculator and
www.dofmaster.com.
15m
10m
5m
1m
The sense of speed and direction in

Adam Duckworths shot of a VW
comes from the use of a wide-angle
lens. This creates strong diagonals
and converging lines.

PLAYFUL PERSPECTIVE

Lens: Nikon 12-24mm f/4
Far limit
4.07m
2.04m
Innity
f/5.6
2.88m
1.44m
Innity
f/8
2.04m
1.02m
Innity
f/11
1.45m
0.75m
Innity
f/16
1.03m
0.52m
Innity
f/22
0.73m
0.37m
Innity
This table shows the hyperfocal distances with an

18mm lens at different lens apertures.
LENS TYPES SUPERWIDE

Wider angles, dramatic perspectives
Try this: Tamron 10-24mm f/3.5-4.5
Super-wideangle lenses offer a much wider angle of
view than a standard zoom. The Tamron 10-24mm is a
good example, offer a wide zoom range for a lens of
this type at a very affordable price.
Alternatives include Nikons
own 10-24mm f/3.5-4.5 and
Sigmas 10-20mm f/3.5
These lenses are for DX format
cameras only. FX format lenses
dont go wide enough.
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VIDEO GUIDES
The charm of Paul Harriss shot

of a giraffe taking a closer look
at the camera is achieved by
the distortion of its features
created by the wide-angle lens.
Near limit of sharpness
f/4
ESSENTIAL KIT
DRAMATIC DIAGONALS
Lens aperture Focus at
NIKON SOFTWARE
Wide-angle lenses (top) have much more depth of

eld than standard lenses (centre) or telephotos
(bottom). Theyre perfect for hyperfocal focusing.
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MACRO LENSES
GET CREATIVE
IN CLOSE-UP
Sometimes the most spectacular
images can be found in the smallest
details, and thats when you really
need a macro lens
he term macro is often abused. Some photographers (and

camera-makers) use it to refer to a photo taken at a closer
distance than normal, but the real denition of macro is very exact.
It means that the subject is reproduced on the sensor at exactly the
same size as it is in real life, and when you view macro shots on a
computer screen or in a print, the tiniest bug takes on the proportions
of a dinosaur. Exploring this miniature world can reveal the most
amazing details and colours.
PATTERNS IN NATURE
Paul Harris has cropped in tight and
shot directly from above to capture the
fascinating patterns of veins in these leaves.

CLOSE-UP FILTERS IN ACTION

These offer a simple way to shoot close-ups
without the expense of a dedicated macro lens
The No Filter shot was taken using a Nikon 50mm f/1.8 lens at its
minimum focus distance. Its as close as we can get with this lens,
but its not close enough to show the individual fruit. The With
Filter shot was taken with the same lens, but with all three
lenses from a Kood close-up lter set, screwed to the front. Its
not the same as a proper macro lens, but it gets us almost as
close, and the image quality is surprisingly good.
No lt er
Close-up lters are a

low-tech solution, but
effective nonetheless
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wit h lt er
KEEP YOUR DISTANCE

Magda Wasiczeks beautiful macro shot was
captured with a 150mm macro lens. This allowed
her to shoot a timid subject from further away.

Lens: Sigma 150mm f/2.8
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WAYS TO GET CLOSER
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There are accessories that can help you

shoot close-ups with your existing lens
A macro lens isnt the only way you can shoot
EXTENSION RINGS
REVERSING RINGS
CLOSE-UP FILTERS
LENS TYPES MACRO
ESSENTIAL KIT
These screw on to the

front of the lens and come
in different sizes to t your
lenss lter size. They come
in sets, in varying strengths
and can be used individually
or in combination. You dont get quite the same picture
quality or level of magnication as a dedicated macro
lens, but theyre inexpensive and simple to use.
NIKON SOFTWARE
These enable you to t the

lens to the camera the wrong
way round! This improves the
optical performance of
lenses that are not designed
specically for macro
photography. But youll lose the connections between
the lens and the body so set the exposure manually.
Youll need older D-type Nikon lenses for this.
NIKOPEDIA
These t between the lens

and the camera body and
preserve all the connections
that allow automatic
exposure and lens aperture
control. They come in sets of
three, each one of a slightly different thickness. You
can use them individually or in combination to get the
degree of magnication that you want.
CAMERA SKILLS
close-ups. Unlike ordinary lenses, macro lenses are

designed to give their best performance at very close
distances, but apart from that the main difference is
simply that the focus travel is increased. And you can
achieve the same result using a regular lens and
close-up accessories.
View the world in miniature

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SHALLOW FOCUS
The closer you get, the shallower the
depth of eld. Adam Duckworth has
used this effect to focus on the tiny
cluster of stones on this earring.
Try this: Sigma 105mm f/2.8

Macro lenses are xed focal length prime lenses
(you cant zoom in and out). There are many to choose
from, but the Sigma 105mm f/2.8 delivered
exceptional performance in our macro group test.
Macro lenses come in different
focal lengths. The advantage of
longer focal lengths is that you
can shoot timid subjects from
much further away.
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THINK OUTSIDE
OF THE BOX
Mainstream standard, telephoto or
wide-angle zooms can cover most
situations, but special creative
effects call for special lenses
A
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FISHEYES AND FORMATS
SPECIALIST LENSES
lens isnt just a focal length and an f-number. Its an amazing

creative tool which you can use to capture the world from your
own unique perspective. And never more so than with the lenses in
this nal set, which can distort, enhance or interpret the world in
whole new ways. From lo- lenses to tilt-shift, from sheyes to
freelensing, these specialised lenses enable you to you shoot
outside the box. Rather than just recording scenes and objects
as they actually are, they let you create your own interpretations,
moods and atmospheres. Remember all those rules about
composition, focussing, depth of eld and straightening the
camera? Nows the time to ignore them completely!
Fisheyes come in two types, standard and

circular, and two formats DX and FX
With sheye lenses you have to be particularly careful to get
the type you want. Standard sheyes ll the whole picture
frame, but still give the characteristic curved distortion
effect. Circular sheyes have a wider angle of view and more
distortion, but create a circular image and dont ll the frame.
This makes it more important to choose the right one for your
camera format. Here are just four possible permutations.
FX Circular sheye on FX camera
FX Circular sheye DX camera
Standard DX sheye on DX camera
Standard DX sheye on FX camera
Fisheye lenses, whether theyre standard or circular types,

need to be used on the format they are designed for.
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CITY SKYLINE
Jeremy Walker used a sheye
lens to capture this ultra-wide
cityscape at night, and the
curvature of the horizon
adds to the sense of scale.
Exposure: 4 sec, f/8, ISO100

Lens: Nikon 16mm f/2.8 fisheye
LENS COMPATIBILITY
Can you use old Nikon lenses on your
new Nikon D-SLR?
Nikon has used the same basic lens tting for every
Pre-AI
(1959)
Warning: AI
conversion
required!
Warning: AI
conversion
required!
Caution: Nikon
says no, but
others say yes
AI (1977)
& AI-S
(1982)
Manual focus,
metering
Manual
focus, no
metering
Manual focus, no
metering
AI-P
(1988)
Manual focus,
metering
Manual
focus,
metering
Manual focus,
metering
AF (1983)
Autofocus,
metering
Autofocus,
metering
Manual focus,
metering
Autofocus,
metering
Autofocus,
metering
Autofocus,
metering
AF-I
(1992)
AF-S
(1996)
Even though you can use older lenses, you may not
have access to all metering or focusing functions
LENS TYPES LO-FI
ESSENTIAL KIT
Nikon D40,
D40x, D60, D3000,
D3100, D3200,
D3300, D5000,
D5100, D5300
NIKON SOFTWARE

Lens: Nikon 6mm f/2.8 fisheye
Nikon D50,
D70, D70s,
D80, D90,
D100
NIKOPEDIA
ALL THE ANGLES
Lens type Nikon D1 series,

D2 series, D200,
D3 series, D300
series, D700, D4,
D7000, D7100
CAMERA SKILLS
Nikon SLR since the launch of its rst ever SLR, the
Nikon F, in 1959.
But only later AI lenses, which arrived in 1977 with
the launch of the Nikon FM, can be mounted directly
on todays D-SLRs.
Earlier, non-AI lenses MUST be converted rst or
they may damage the
mechanical linkages on
the camera body.
The following table is a
summary overview of the
lens types available, what
they can be used on and
any technical limitations.
Remember, you
should always check
You can go right back to
specic camera-lens
the AI lenses introduced
combinations for details. with the NikonFM in 1977.
Mark Pain chose a dramatic

viewpoint for this shot of the
Oaks, taken with a rare Nikon
8mm sheye.
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Transform the world around you
TILT-SHIFT
Exposure: 1/1600 sec, f/NA, ISO100

Lens: Hartblei Tilt-Shift
FREELENSING
Ben Brain disconnected the lens
from the camera for this still life,
tilting the lens in front of the body
to achieve this effect.

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VIDEO GUIDES
Adam Duckworth created this

amazing miniature effect using a
Hartblei tilt-shift lens on a Nikon
D3. The defocused background
and foreground makes the car
look like a toy.
Try this: Lensbaby (all models)

With a Lensbaby, you can tilt the lens while its still
mounted on the camera to produce controllable
defocussing effects. Low-quality glass or plastic
lenses are used for a deliberately
old-fashioned, lo- look.
Holga cameras have a cult
following, but you can also get
a cheap Holga 60mm lens to t
a Nikon D-SLR.
INTRODUCTION
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NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
1OO
Want to get the most out of your Nikon SLR?
We reveal the menus, RAW options and
hidden gems that can transform your shots
ou can get great shots with your
Nikon straight out of the box, but
your results will be even better
once you start taking over the controls and
making the shooting decisions yourself with
manual white balance, shutter speed, lens
aperture and ISO settings.
But it doesnt end there. The Shooting
menu offers additional options for extending
your cameras capabilities, such as Nikons
Active D-Lighting mode. And the Setup
menu handles important housekeeping
tasks, such as rmware updates and how
your les are named.
But its in the Custom Setting menu that
things get really interesting, because its
here that you can tinker with the innermost
workings of your camera and congure it in

a way that suits your own personal style.
There are differences between cameras,
of course. The D3000-series cameras dont
have a Custom Setting menu, and all their
conguration options are merged with the
Setup menu. And, not surprisingly, there are
options on the professional models, such as
the D4 and D800, that arent available on
others. Well indicate broadly which
cameras have which features as we go
along, but you may need to check your own
cameras manual to nd out for sure, and to
get more detailed instructions if required.
Our aim is to show just what your Nikon
D-SLR is capable of, and were willing to bet
that its a lot more than you think!
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CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
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INTRODUCTION
CAMERA SKILLS
EXPOSURE BRACKETING
VIDEO GUIDES
Images by: Michelle McMahon. Melanie Stevens and Tim Gartside
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Estimating the correct exposure can be tricky, especially with a

high-key subject like this. With the auto-exposure bracketing function,
available on the D5100 and up, the camera takes three shots at three different
exposures, so that you can choose the best later.
GET BETTER
RESULTS FAST!
Quick tips for better results and
better ways to use your camera!
heres plenty to take on board when youre getting to grips with

your camera, and learning the art of photography at the same
time. As a result, its easy to overlook features and options that
could make your life easier. Some are straightforward, but others
reveal capabilities you may not have known your camera
possessed, from exposure options to focus points.
DOF preview
Buttons, dials and

features that are worth
experimenting with
How much depth of eld

will you have? Press the
depth of eld preview button
(D90 and up) to get an idea.
Bear in mind that the
viewnder image will darken.
SHIFT AE BRACKETING
WITH EV COMPENSATION
Dark backgrounds play havoc with exposure

meters. But you can apply negative EV compensation
rst and then use the auto-exposure bracketing
feature to bracket your exposures around your
corrected exposure to cover all the bases.
Quiet mode
Nikons Q mode disables

the cameras autofocus beep,
and delays the mirror return
(the noisy part) for as long as
you keep the shutter button
pressed down.
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Mirror lockup
The Lock mirror up

command is used for sensor
cleaning, but many Nikons
(D7000 and up) also have a
Mirror Up mode, to reduce
shake in tripod shots.
MISSION INFO
Top tips for viewing,
focusing and getting the
most from Live View
AUTO ISO
Live View AF points
Auto ISO isnt just

for novices! Its
ideal for travel photography,
when youre shooting in a
range of different conditions.
On a bright day like this itll
automatically choose a low
ISO setting, so theres no
need to worry about qualtiy.
You can use the multiselector in Live View to move

the square AF point marker
anywhere in the frame.
Live View zoom in
You can use the zoom

button to ne-tune your
manual focus. This works best
with the camera on a tripod.
The camera can still tell

you when the subjects in focus
using the Rangender feature
(in the Setup menu).
Youre wasting your

time, and your
cameras powermanagement features.
Your Nikon D-SLR will power
down automatically if it
hasnt been used for a while.
Centre the AF
If youre using single-point

autofocus, and youve moved
the point away from the centre,
just click OK to revert to the
centre AF point.
EYEPIECE DIOPTRE
Does the viewnder

information look blurred?
All Nikon D-SLRs have a
tiny dioptre setting
dial next to the
viewnder eyepiece
to allow you to
adjust the focus for
your own eyesight.
AF lock switch
It can be easy to shift the

AF point by mistake, so some
Nikons (D90 and above) have a
focus selector lock on the back
to prevent this from happening.
Use the Info display
If youre standing away

from the camera, its hard to
see the status panel so press
the info button to show the
settings on the LCD display.
Built-in spirit level
Some Nikon models have

a virtual horizon, which can be
displayed via the Setup menu
or live in the Live View mode.
ESSENTIAL KIT
Your Nikon D-SLR

starts working
the moment
you half-press
the shutter
release, xing the
exposure and the
focus, but its only when you
press it the whole way that it
takes the picture. You can
use this to reframe your shot
without changing the
settings, or eliminate shutter
lag due to autofocus delay.
NIKON SOFTWARE
PRESSING
HALF
THE SHUTTER
NIKOPEDIA
Manual focus
DONT KEEP
SWITCHING
ON AND OFF
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Help!
If you see a ? symbol in

the bottom left corner of the
LCD display, press the Help (?)
button for an on-screen hint.
Some Nikon lenses have
two VR settings. Stick to the
Normal setting, and only use
Active if youre being thrown
around in the back of a Land
Rover, for example.
LCD illumination
Shooting at night and

cant see your status panel?
The power switch has an
extra spring-loaded detent
that activates the LCD
backlight for a few seconds.
JPEGs for bursts
RAW les are great for

ultimate quality, but your
camera can save more JPEGs
in a burst. On a D3100, say, its
the difference between
getting six shots and 100 shots!
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Power-saving
Does your Nikon D-SLR shut

down too quickly? Go to the
Settings menu and change the
power-off delay time.
VIDEO GUIDES
VR settings
INTRODUCTION
CAMERA SKILLS
BE A SHARPER SHOOTER
WITH CUSTOM TWEAKS
Your cameras Custom Setting
menu conceals a wealth of options
AF-ON BUTTON
Professional
photographers swear by
it; others hardly notice its
there. The AF-On button can
be congured to take over autofocus
activation from the shutter release
button. Most pros nd this offers a
much more instinctive way of working.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
ou might happily carry on using your Nikon D-SLR indenitely

without once taking a look at the Custom Setting menu. But if
you do have a look, you could discover whole new ways of using
your camera or nd the easy solutions to some irritating
problems that have been annoying your for ages!
THE
RECONFIGURE
AE-L/AF-L BUTTON
The AE-L/AF-L button
locks both the focus and
exposure, just like
half-pressing the
shutter release. So
whats the point of that?
Well, you can also congure it to lock
only the focus or only the exposure,
which is much more useful. It can
also be used as an AF-On button on
cameras that dont have one.
D7100 U modes
Tips to help you get the

most from your cameras
special hidden features
The D7100 bridges the

gap between pro SLRs and
amateur models. It lets you
save two lots of custom
settings, selected using U1
and U2 on the mode dial.
Set the date!
Your Nikon embeds the

time and date in each image,
and you (or your cataloguing
software) might need this
information one day, so be
sure to set it correctly.
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No card inserted?
Its annoying when the

shutter wont re because
theres no memory card
inserted. Find the Slot Empty
Release Lock setting and set
it to Enable Release.
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Custom settings can be
fundamental to the way
your camera works
Pro Nikon SLRs let you
create sets of custom settings
via banks A, B, C and D.
Recent Items
SHAKE-FREE SHOTS
WITH THE SELF-TIMER
ISO HI AND LO
Nikon includes Hi and Lo

ISO sensitivity values to
increase the range of lighting
conditions you can shoot in. Theyre
called Hi and Lo and only given
equivalent ISO numbers because
theyre slightly outside the range
for accurate ISO calibration.
My menu
On Nikons pro D-SLRs you

can swap the Recent Items
menu for your own custom My
Menu open the menu and
select the Choose tab.
File numbering
REVERSE DIAL
ROTATION
sRGB vs RGB
You can set your Nikon to

shoot sRGB, the colour space
used by most digital devices, or
Adobe RGB, which is better for
commercial publishing. Or
shoot RAW and choose later!
AVERAGE METERING
All Nikon D-SLRs offer a centre-weighted

metering mode, but what if you want simpler
average metering? This is a hidden option on all
Nikon pro SLRs and the D7000 among the custom
settings for the centre-weighted area size.
RAW options
Basic Nikons shoot 12-bit

NEFs, while others shoot higher
quality 14-bit NEFs. The pro
models offer a choice, so that
you can balance image quality
against le size.
Exposure steps
Digital SLRs adjust

exposure values in 1/3-stop
increments, but if you prefer
1/2-stops, change the EV Steps
in the Custom Settings (not on
D3000-series cameras).
Periodically, Nikon may
issue rmware updates to x
bugs or add new features to
your camera. Check the Nikon
websites Services & Support
section for updates.
Embed copyright
If you take pictures for a

living, youll want to embed
copyright information. You
can set up a custom copyright
message on Nikons pro
D-SLRs from the D7000 up.
Self-timer delay
If youre using the

self-timer to re the camera
on a tripod, you wont want to
wait 10 seconds every time. So
use the Custom Settings
menu to change the delay.
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Noise reduction
Long-exposure noise
reduction and high-ISO noise
reduction are set separately
except on the D3000-series.
VIDEO GUIDES
Free SLR upgrade
ESSENTIAL KIT
Does the EV
compensation
always go the
wrong way
when you turn
the command
dial? It just doesnt seem right
that the exposures reduced
when you turn the dial to the
right. The answer? Reverse
the dial rotation in the
Custom Settings menu (not
featured on the D3000
NIKON SOFTWARE
To make sure every shot

has a unique le number, set
the File number sequence
option to On. Otherwise, youll
end up with duplicate le
names on your computer.
NIKOPEDIA
When youre taking

long-exposure night shots or
close-ups with the camera on a
tripod, you need to avoid jogging it
when you press the shutter release.
The solutions easy just use the
camera self-timer!
Need to change a setting

youve just made? Theres no
need to plod back through the
menus because itll be on the
Recent Items menu!
CAMERA SKILLS
Settings banks
INTRODUCTION
NIKON RAW
CONVERTERS
VIDEO GUIDES
Images by: Michelle McMahon, Chris George and Tim Gartside
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Ever wondered why your

RAW conversions in Adobe Camera
Raw dont quite match your Nikons
JPEGs? Only Nikons own software
(View NX 2 and Capture NX 2 )
interprets the white balance and
Picture Control settings exactly as
Nikon intended. This can be crucial
where subtle colour combinations
are the theme of the picture.
GET THE INTEL

ON THE MUST
HAVE GADGETS
A few smart accessories can make
your photography a lot easier
hink of camera accessories, and you may think about lenses

and tripods. But there are lots of other add-ons that can make
just as much difference, and often with a smaller cash outlay.
There are also some features on your existing gear and the
things you plan on buying that you really ought to know about
before you make any decisions.
ML-L3 remote
Inexpensive accessories
that no photographer
should do without
Its cheap (just $15),

its small and it res your
Nikon by infrared. It also
works with most DX-format
cameras, except for the
D3100, D300 and D300s.
DUAL MEMORY CARDS
Why do Nikons
professional D-SLRs have two
memory card slots? Its not just in
case your rst memory card lls up! You can use
the second slot to store image backups or
separate RAW les and JPEGs (or videos).
LENSES FOR FILTERS
If you regularly use lters,

you need to take care when
shopping for new lenses that they
feature non-rotating front elements.
These are lenses whose front elements dont
rotate when you adjust the focus, which would
make using polarisers and graduated lters tricky.
Get a grip!
Nikons smaller D-SLRs

dont take battery grips, but
the rest do. They provide
longer-lasting power, easier
handling, and in some
instances, a speed boost.
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Flashy alternative
Need extra light but

dont want the fuss of ash?
LED lamps like the Manfrotto
ML240 clip to the accessory
shoe and provide more light
than you might think.
MISSION INFO
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Top advice for buying
and using Nikoncompatible accessories
When youre choosing
memory cards, dont just go for
capacity. You need Class 6
cards or faster if you plan on
shooting full HD video.
FLASH DIFFUSER
AF Fine Tune
The light from the onboard ash is quite hard,

but a simple ash diffuser will soften it up.
Because the light source is more spread out, you dont
get such harsh shadows.
CLOSE-UP FILTER
Keen on close-ups but cant

afford a macro lens? Close-up
lters could be the answer. Filter
manufacturer Kood, for example, makes
close-up lters in three different
strengths, and you can use them singly
or in combination check your lenss
lter size rst.
Thinking of upgrading to
full-frame at some point?
Youll need to stick to DX
format wide-angles and
standard lenses, but for macro
and telephoto photography,
FX-format lenses are ne.
DX lenses on FX
MANUAL FOCUS
OVERRIDE
You can still use your DX

lenses on an FX camera it will
switch to DX crop mode.
Does your lens have

an MA/M switch
(rather than A/M)?
If so, it offers
full-time manual
override so you can turn the
focus ring manually, even
while the lens is still switched
to autofocus mode.
AF motors
D3000- and D5000-series

Nikons dont have autofocus
motors in the body. Most new
lenses have motors built in, but
some older ones dont, so
check before you buy.
Lens hoods reduce lens

are when youre shooting into
the light. But theyre just as
useful if it rains because they
help keep rain off the lens.
Off-camera flash
ESSENTIAL KIT
Lens hoods
NIKON SOFTWARE
FX future-proofing
NIKOPEDIA
Use the AF Fine Tune

option in the Setup menu on
the D7000 and above if you
have a lens where the focus is
slightly out but make sure its
not focus error on your part.
CAMERA SKILLS
Faster cards
You can great effects

with off-camera ash, but
wireless control can be quite
daunting so get a simple
external ash cable instead.
You could spend a
fortune on underwater
housings or bespoke rain
covers, but these cheap and
simple covers from Op/Tech,
are just $7 per pair.
Take a seat
If youre shooting sports

or wildlife, you can end up
standing in the same spot for
hours. Fold-up Walkstools
take up no more space than
a small tripod.
On the level
Not all Nikon D-SLRs

offer an on-screen spirit level
to help get your camera
straight, but this clip-on spirit
level is a cheap and simple
alternative for any Nikon.
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Get a card reader
Do you still hook up your

camera to your computer with
a cable? Card readers are both
quicker and simpler.
VIDEO GUIDES
Dont get wet!
INTRODUCTION
CAMERA SKILLS
BLACK AND WHITE FILTERS
Images by: Michelle McMahon, Melanie Stevens and Rod Lawton
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
SUBTLE MONOCHROME TONING EFFECTS
Old-school black and white

photographers would use
coloured lters to change the tonal balance in their pictures and you can do the same with
your Nikon D-SLR. Select the Monochrome Picture Control in the Shooting settings menu,
then press right on the multi-selector to access the Filter effects.
You can also apply toning effects to your

black and white pictures. The ability to
adjust the strength of these effects means that you
can exercise lots of subtlety there are no crude
orange sepia effects here!
USE YOUR SLRs

BUILT-IN LAB
How to get the look you want
from your Nikon D-SLR photos
ere used to xing up our photos in Photoshop, but theres a

lot you can do in the camera itself. You need to make
decisions about lens aperture and shutter speed as you shoot,
and Nikons Active D-Lighting control adjusts the exposure, not
just the image processing. Nikons Picture Controls can save you a
lot of Photoshop processing time later, and you may be surprised
by the tools and effects available in the Retouch menu
Time lapse
Explore your SLRs menu

options and take control
of your photography
Time-lapse photography
can be fascinating. Many of
the latest Nikon models
(D5100 and up) have an
Interval Timer mode on the
Shooting settings menu.
MINIATURE EFFECT (RETOUCH)
The tilt-shift effect is all the rage right now, where selective
defocusing is used to make the world look like a model village.
You guessed it you can do this in-camera too. It takes just a few
moments to position the sharp section of the image, and you can preview
the result before you save it.
Auto Distortion
All lenses produce

some degree of distortion.
But did you know that as long
as youre using supported
Nikon lenses, your camera
can correct it automatically?
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Perspective
Are your architectural

shots spoiled by converging
verticals? The Perspective
control option in the Retouch
menu can correct vertical
and horizontal perspective.
MISSION INFO
FLEXIBLE PROGRAM
You dont actually need

to switch to A or S mode for
aperture or shutter speed
control. If you turn the command dial
in P mode, it goes into Flexible Program mode,
shifting the aperture/shutter speed
combinations one way or the other.
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Get the correct
exposure, white
balance and more
This mode enables you to
capture very high-contrast
scenes. It adjusts the exposure
to capture bright highlight
detail, and processes the image
to bring out the shadows.
ADL bracketing
Regular D-Lighting
You can also apply Active

D-Lighting to images already
saved on the memory card. It
doesnt change the exposure it
simply brightens the shadows.
NIKOPEDIA
Most Nikon models now

offer ADL bracketing, where
the camera takes a series of
shots at different Active
D-Lighting settings.
CAMERA SKILLS
Active D-Lighting
Predictable WB
SYNC WITH
SLOW
BUILT-IN FLASH
(FLASH
AUTOMATIC
OFF) MODE
Custom WB
If youre shooting in a
museum, a theatre or at an
Olympics event, the last thing you need is
the ash ring! But if you want the
convenience of fully automatic operation,
just switch to the Auto (ash off) mode
its the circular ash strike-through
symbol on the mode dial.
You can use the White

Balance menu to take a manual
white balance reading. The
camera saves this reading until
you override it with another.
WB bracketing
With white balance

bracketing (D5100 and up), the
camera saves three images
with different WB settings.
Retouching tools
ESSENTIAL KIT
Flash on its own can

look pretty grim, but
if you set the ash
mode to Slow,
the camera will
balance the
ash with the
existing light. This works best
at dusk or in poor light, where
subjects in the foreground are
brightly lit and the
background is darker.
NIKON SOFTWARE
With auto white balance,

the camera corrects the
colours for each scene. But
sometimes the colour of the
light is a key part of the photo.
To preserve colours, use the
Direct Sunlight preset.
The Retouch menu

enables you to straighten, crop
and retouch photos without a
computer in sight.
Zoom lenses have the

same minimum focus
distance whatever the zoom
setting youre using, so the
trick is to set the lens to its
maximum focal length rst.
HDR bracketing
To create an HDR image

you can use your Nikons
auto-exposure bracketing
function, but set wider
bracketing increments than
usual 2EV should do it.
Built-in HDR
The D800, D4 and

D5000 series have built-in
HDR modes where two
exposures are combined
in-camera, capturing an
extra-wide dynamic range.
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Mono in RAW
Your Nikon has great mono

effects, but its still worth
shooting in RAW. The LCD will
show the mono effect, but
youll have all the colour data.
VIDEO GUIDES
Zoom for macros
INTRODUCTION
CAMERA SKILLS
PLAY, REVIEW,
AND PERFECT!
VIDEO GUIDES
The histogram display in Playback mode

gives you a quick guide to whether you need
to retake the picture watch out for clipping in the
shadows or highlights. Its invaluable for subjects
which push the extremes of the tonal range.
ow its time to see what youve got! Your Nikon can display a
whole raft of information about your images, including the
shooting settings and exposure data. The histogram will show
you how good your exposure technique has been, and custom
Picture Controls can tune your cameras output to match your
style. Your camera even has its own built-in RAW converter. Last
but not least, you need to keep your camera and your memory
cards organised, and weve got tips for that too.
Images by: Michelle McMahon and Tim Gartside
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Get the most from the photos youve

taken with your Nikon D-SLR
INTERPRETING THE HISTOGRAM
SENSOR CLEANING
If youve got soft, dark

spots appearing in the same
place on all your photos, its dust
on the sensor. But before you attempt to remove
the dust yourself, try running the cameras own
sensor-cleaning process manually you can do
this via the Setup menu (older models dont have
sensor-cleaning functionality).
RAW processing
Advanced tips and

techniques to help you get
the most from your Nikon
If youve shot RAW les

and you need a JPEG, use the
NEF (RAW) Processing option
on the Retouch menu. The
camera saves a JPEG along
with the original RAW le.
NEF exposure
You can adjust the

exposure compensation of
RAW les in-camera because
RAW les have slightly more
highlight and shadow latitude
than JPEG images.
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Dust Off
If your Nikon doesnt

have sensor-cleaning, you
could use Nikon Capture NX 2
(sold separately). The Dust Off
feature uses reference shots
to automatically remove dust.
MISSION INFO
NEF WHITE
BALANCE
Review your images,

manage your EXIF
data and more
Instant review
Make sure the Image

Review option is switched on
(Playback menu). The camera
will then display the image
youve just taken for a few
seconds long enough for you
to check that its okay.
Playback info
CREATE YOUR OWN PICTURE CONTROLS
FORMAT SHORTCUT
LOCK IMAGES
In the highlight warning

mode, pictures display
normally, except that if any
areas have been overexposed,
such as bright skies, these
areas ash as a warning.
Image comments
You can add a comment to

your photos, such as a location
or model name, but its a
non-standard data eld, and
you wont see it in Adobe Bridge.
Playback folders
Each camera you use will

set up its own folder on the
memory card, and will usually
only show the contents of that
folder you can use the
Playback Folder option to
change this.
Deleting images
Select the Delete option

on the Playback menu, press
the right button, and choose
Selected. You can now browse
your saved images in thumbnail
view and pick out the ones you
want to delete.
Why scroll through your
images manually when the
camera can do it for you? Look
for the Slide show option on
the Playback menu you can
even choose the transition.
Reset settings
To reset your camera,

open the Shooting menu and
choose Reset shooting menu,
then open the Custom
Settings menu and choose
Reset Custom settings.
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Format or delete?
Formatting wipes the

whole card, while deleting only
removes photos from the folder
being used by the camera.
VIDEO GUIDES
Play a slideshow
ESSENTIAL KIT
In Playback mode you can lock images to

prevent them being deleted using the Lock (key)
button. This is in a different place on different
cameras. Its easy to press accidentally, and if youre
wondering why youve got some photos you cant delete this is why!
Highlight warning
NIKON SOFTWARE
If your Nikon
has a red
Format
button on the
top, there will
be another on
the back. These
offer a quick way to format
your memory card. You press
and hold until For appears on
the status panel on the top,
then press both again to
format the card.
You can cycle through the

image playback information by
pressing up/down on the
multi-selector. If some info isnt
visible, open the Setup menu
and choose Playback Display
Options or Display Mode.
NIKOPEDIA
Picture Controls change the way the image

is processed to tweak the contrast,
saturation and tonal rendition of your pictures. If you
like super-saturated landscapes, for example, a
custom Picture Control can recreate the look you like.
Movie les take up a lot of

space on your memory card,
but you can trim them
in-camera and save a copy.
Then you can delete the
original to free up some space.
CAMERA SKILLS
If you shoot
RAW, you can use the
NEF (RAW) Processing
tools to see the effect
of different white
balance settings.
Try using the
Incandescent setting
to emphasise cool,
dawn light, for
example.
Trim movies
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Page 58
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Nikopedia
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Page 94
Focal length ........................................................... 58

Autofocus ................................................................ 62
Depth of eld ......................................................... 66
Exposure .................................................................. 70
Aperture ....................................................................74
Shutter speed.........................................................78
Shooting modes ................................................... 82
Metering modes ................................................... 86
White balance .......................................................90
Digital processing ...............................................94
Contrast and dynamic range ........................ 98
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10mm ultra-wide-angle
NIKOPEDIA
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INTRODUCTION
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NIKON SOFTWARE
200mm telephoto
The right lens helps you

isolate subjects or set the
scene with your pictures
VIDEO GUIDES
ESSENTIAL KIT
NIKON KNOW-HOW
FOCAL LENGTH EXPLAINED

Discover how your Nikon D-SLRs lenses work in our complete beginners guide
A major benet of a D-SLR is
the availability of a variety
of lenses suited to particular
photographic situations. You
undoubtedly already know that
long lenses make distant subjects
appear closer, or larger in the
picture, while wide-angle lenses
take in more of the scene. Specifying
the focal length numerically makes
it easier to compare different lenses.
Focal length is measured in
millimetres. The range around
35-50mm is considered normal,

or standard, as it roughly matches
your central eld of vision (excluding
your periphery vision).
Short and wide

Wide-angle lenses have shorter
focal lengths than this. Their wider
view enables you to get more of a
scene into your shot good for big
landscapes and tight spaces.
Long (or telephoto) lenses
70mm and upwards, say excel at
close-ups, portraits, and sports and

wildlife photography.
Focal length is closely related
to angle of view. This directly
describes how much or how little of
the scene you can see in your D-SLRs
viewnder.
The term wide-angle is helpfully
descriptive these lenses have
short focal lengths, such as 18mm.
At the other end of the scale,
we dont speak of narrow-angle
lenses, though it would be a logical
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description for long lenses such as

200mm or 300mm.
However, to complicate things
slightly, the angle of view in your
viewnder (and in the nal picture)
isnt solely determined by the focal
length of the lens. This is because
not all Nikon D-SLRs are alike they
have different-sized sensors.
The sensor is the digital chip that
captures the image. In Nikon SLRs,
its one of two sizes. Most Nikon
D-SLRs, such as the D3300, D5300,
300mm (EFL 450mm)
Understand the difference between

focal lengths, from 10mm to 300mm
Your lenss focal length affects the angle of view
you can see through your cameras viewnder. To
understand the difference focal length can make to
the angle of view, compare a sequence of shots of the
same subject taken at varying focal lengths. See our
examples for how much or how little of a scene you can
capture depending on your effective focal length (EFL).
CAMERA SKILLS
WIDE-ANGLE
TO TELEPHOTO
INTRODUCTION
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200mm (EFL 300mm)
NIKOPEDIA
105mm (EFL 158mm)

83mm (EFL 125mm)
27mm (EFL 40mm)
How your D-SLR

forms an image
15mm (EFL 23mm)
ESSENTIAL KIT
Your lens projects a circular, upside-down

image of your subject. Thanks to your
D-SLRs prism and mirror, the image then
looks the right way up in the viewnder!
NIKON SOFTWARE
55mm (EFL 83mm)
JARGON BUSTER
Effective focal length
This image is formed by an FX-format

lens; the smaller area in the centre is
what a DX-format sensor would see.
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VIDEO GUIDES
If you use a DX-format

Nikon D-SLR, multiply the
actual focal length by 1.5
(the crop factor) to get
the EFL the effective, or
equivalent, focal length.
INTRODUCTION
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NIKON KNOW-HOW
CAMERA SKILLS
ANATOMY OF A NIKON LENS

The lens is the eye of your
camera. We dissect one to
show you whats inside
Lens aperture
This opening controls how much
light is let in.
NIKOPEDIA
Front element
The big piece of glass on the front
that collects the light and which
is also the most exposed to dust
and vulnerable to scratches.
Zoom ring
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
When you turn the zoom ring,

internal groups of lens elements
move, changing the focal length.
D90 and D7100, use smaller sensors

(about 24x16mm), designated DX.
The pro models (D800 and D3 series)
have larger FX, or full-frame,
sensors (36x24mm).
The crop factor

The larger FX sensor sees more of
the image projected by the lens. This
means the same lens gives a wider
angle of view on an FX camera than

on a DX model. Conversely, on a DX
camera, a lens gives a narrower view.
In fact, focal length is effectively
magnied by 1.5.
We also describe this as the crop
factor DX cameras have a crop
factor of 1.5x. With telephoto focal
lengths, this brings you even closer
to the action. For instance, it means
that a 200mm lens has an effective

focal length (EFL) of 300mm
(200x1.5). This is often helpful for
wildlife or sports photography.
Conversely, the crop factor
reduces the wide-angle-ness of
wide-angle lenses. For example, it
increases an 18mm lens to an EFL of
27mm (18x1.5), reducing how much
you can t in your frame. This is
obviously unwelcome when youre

facing a vast landscape.
Prime and zoom

Lenses that have a xed focal length
are called prime lenses, such as
the Nikon 35mm f/1.8G DX. Zoom
lenses, on the other hand, have a
range of focal lengths: a 55-200mm
zoom offers all the focal lengths
STEP BY STEP HOW TO SWITCH LENSES

Follow these simple steps to change lenses without damaging them or your camera!
Be prepared
Get started
Remove your lens
Line up the new lens
Switch lenses indoors, or out

01
of the wind, to avoid dust
reaching your sensor. Have your new
lens handy to minimise the time your
D-SLRs innards will be exposed for.
Switch off your camera and lie

02
it k on a soft surface. With
your left index nger pressing the
lens release button, use your right
hand to turn your lens clockwise.
Lift the lens clear and place it

03
safely to one side. Remove the
dust cap from the lens mount of the
replacement lens and put it on the
one youve just removed.
Line up the white dot on the

camera with the white dot or
index mark on the lens youre going
to attach. On some third-party
lenses the dot might be red.
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04
PUTTING IT INTO PRACTICE

Vibration Reduction (VR)
36mm
23.9mm
You can change the focal length, or zoom setting, to

change the magnication, but it has other effects too
FX sensor
Bayonet lens mount
23.6mm
15.6mm
This attaches the lens to your

D-SLR. Contacts supply power
from your camera to drive the
autofocus and VR, and enable the
camera and lens to communicate.
LENSES AND PERSPECTIVE
DX Sensor
Lens motor
Focal length
The focal length currently set is
indicated by the number on the
zoom ring that lines up with the
central mark.
DX sensors capture a smaller part of

the scene than FX ones, which makes
the focal length appear longer
range is referred to by f/3.5-f/4.5 at

10mm the widest aperture you can
use is f/3.5, while at 24mm this is
reduced to f/4.5. However, narrower
apertures (f/11, say) are available
throughout the focal length range.
Nikon lenses badged DX are
designed for smaller-sensor (DX)
Nikon D-SLRs such as the D3100.
These cameras are relatively light
and usually relatively affordable,
and still deliver top results. If you
own a full-frame (FX) D-SLR, DX
lenses wont give full coverage
on the larger sensor. However, all
lenses, except for a few obscure
ones, can be used on DX cameras.
Your assignment
See how different focal lengths affect your results with these tests:
Without moving your camera or subject, take three shots at three
focal lengths. For instance, try 18mm (wide-angle), 35mm (standard
on a DX camera) and 100mm (telephoto). You should see, as you might
expect, that the magnication and angle of view change according to
the focal length that youve set.
Now take three shots of the same subject at different focal lengths
18mm, 70mm and 200mm, say. This time, though, change the camera
position and move back each time so the subject still lls the frame.
Below are examples that show the effect this has on the perspective
and how you can use this to change the style of the picture
18mm from 3m
70mm from 10m

At 70mm, you have to move
much further away from the
subject to make it the same size in
the frame. Relative to the camera,
the owers and the building now
seem to be much closer together,
and the building appears larger.
02
ESSENTIAL KIT
At this focal length, you have

to get right up close to the
subject (the owers at the base of
the monument). This exaggerates
the distance to the building in the
background, making it look much
smaller.
01
NIKON SOFTWARE
from 55mm to 200mm inclusive.

Some people confuse telephoto
with zoom, but many zoom lenses
arent telephoto at all. For example,
the Nikon 10-24mm f/3.5-4.5 DX is
an ultra-wide-angle zoom. The focal
length range is denoted by 10-24mm
10mm is an extreme wide-angle,
while 24mm is a more moderate
wide-angle. The maximum aperture
DX sensor
NIKOPEDIA
Nikon autofocus lenses have

motors to move the elements.
Silent Wave Motor (SWM) lenses
are even quieter and faster.
Here weve set an assignment to help you turn theory into practice.
To recap, when you change your focal length, youre also changing the
angle of view. At a short focal length of 18mm, you can t more of the
scene into the frame, compared to using a long focal length of 200mm
from the same spot.
However, focal length isnt merely a simple cropping tool it also
has other creative effects on your picture. For instance, it indirectly
affects perspective. Photographing subjects up close with a wide-angle
lens makes foreground objects look larger, while using a telephoto at a
greater shooting distance creates a compressed perspective, making
things at different distances appear closer together. Focal length also
affects depth of eld, which you can use to great creative effect, as well
investigate in the near future.
CAMERA SKILLS
Nikons image stabilisation

technology uses gyroscopic
sensors and a micro-computer to
detect and compensate for lens
vibrations caused by hand shake.
INTRODUCTION
200mm from 29m

Stow your old model
Carefully slot the lens home

and then turn it anticlockwise, so that the focusing scale
is facing upwards. Keep turning until
you hear it click securely into place.
Take the lens cap off your

replacement lens and safely
stow the one youve removed. Now
turn the camera back on youre
ready to take some photos!
05
06
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At 200mm, you have to move

so far away from the subject
that the background is, relatively
speaking, not much further away. It
appears almost at its correct size
hence the perspective-attening
effect of telephoto lenses.
03
VIDEO GUIDES
Attach the new lens
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How does autofocus really work?
Autofocus analyzes the image and then adjusts the
lens using a motor. It exploits the fact that a sharp
image has higher contrast than an out-of-focus one.
A pair of sensors correspond to each AF point
shown in the viewnder. By assessing the signal from
the AF sensors, your camera can adjust the lens to
achieve the highest-contrast image. If more than
one AF point is used, the system normally assumes
you want to focus on the point giving the closest
focusing distance.
With uniform subjects such as a plain wall, theres
no contrast, so the autofocus struggles to lock on.
NIKOPEDIA
CAMERA SKILLS
INTRODUCTION
NIKOPEDIA
Autofocus is an
easy way to make
subjects clear
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
Focused too near
NIKON KNOW-HOW
In focus
WHATS AUTOFOCUS
ALL ABOUT?
Focused too far
Discover how to get sharp shots every time

with our complete beginners guide to focusing
Pictures where the main
subject isnt sharp are rarely
welcome, which puts focusing
among the most crucial controls on
your camera. A lens can only focus
precisely at one distance at a time,
so it needs to lock on to the correct
point in the frame or your subject
might appear blurred.
Depth of eld (a phenomenon well
explore next issue) often creates
some margin for error as it may
make nearer or more distant objects
also appear to be in focus. Still, its
best to ensure that the key point
of your image is in focus, and your

Nikon provides a range of systems to
help you achieve this.
Nikons rst autofocus (AF) SLR
was the F3AF, produced in 1983.
Since then the technology has
improved immensely. Essentially,
dedicated sensors in the camera
body assess the contrast in the
image and move the lens elements
to bring the image into focus.
However, the system is not
foolproof. For a start, your camera
cannot know which part of the
frame you want to focus on. AF-area
modes (see right) help determine

where in the frame the camera can
focus. Left to itself, the AF system
will assume you want to focus on
the part of the picture closest to
the camera. This isnt always the
case. One solution is to manually
select the AF point that lines up with
the subject, or use Focus Lock and
recompose your shot.
Moving targets
Accurate focusing gets more
complicated when your subject is
in motion. In AF-S Single-servo AF
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Low contrast
Lens focused too
close, giving a lowcontrast image on
the sensor
High contrast
Precise focus,
giving a highcontrast image on
the sensor
Low contrast
Lens focused too far,
giving a low-contrast
image on the sensor
mode, the lens locks the focus as

soon as it nds the subject distance.
AF-C Continuous-servo AF
mode is better for moving subjects
because it keeps tracking the
subject, right up to the moment
when the shutter opens.
On most Nikon D-SLRs, youll
also nd an AF-A mode, which
automatically switches between
AF-S and AF-C according to whether
or not the camera detects any
movement. This is often helpful,
but the system isnt infallible for
example, there might be
INTRODUCTION
READING YOUR D-SLRS VIEWFINDER

Focus preview
Multiple AF points
The focusing screen has an etched

surface, which helps clarify which
parts of the image are in sharp
focus and which arent (as with the
church, here). It also gives an idea
of how much depth of eld youll
get with the widest aperture.
Current Nikon D-SLRs offer

between 11 and 51 autofocus
points, any of which can measure
subject distance.
CAMERA SKILLS
The viewnder gives lots of information about focusing you just need to know where to look
Red alert
Focusing screen
The image you can see in the
viewnder is projected by the lens
onto the focusing screen.
Central AF point
A green circular LED will light up when the autofocus has

locked onto a subject (when using Single-servo AF mode).
It will blink if the AF cant lock on to the subject, or if youre
too close. The LED doesnt light up if youre using AF-C
Continuous-servo AF.
The central autofocus point is the most sensitive, making

it the best choice when shooting in low light or when
precise focusing is critical. You can use this central
AF point even if you dont want the subject to be in the
middle of a photo
CAMERA SETUP
CHOOSING YOUR FOCUS MODE
NIKON SOFTWARE
Focus conrmation
NIKOPEDIA
The AF points in use will briey

ash red as you squeeze the
shutter release, conrming
that the camera has locked on
to the right subject. Here, one
point is ashing, showing that
the furthest tree on the right is
in focus. This ashing doesnt
happen in AF-C Continuous-servo
AF mode (see the box below).
Get ready to change settings if the subject starts or stops moving
Best for moving

subjects. Half-press
the shutter and the
autofocus system
adjusts to track the subject. Its
predictive focus continues to track
the anticipated path of the subject,
even after the shutter has been red.
AF-A Auto-servo AF
Manual focus (M)
Ideal for shooting a

mix of static and
moving subjects,
such as those at a
wedding. The camera will switch
between One Shot and AF-C
Continuous-servo AF, depending on
whether it detects any movement.
Manual mode can

be more accurate
sometimes, such
as in low light,
with low-contrast targets or when
shooting fast-moving subjects that
follow a predictable path. The LEDs
still light up in the viewnder.
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VIDEO GUIDES
AF-C Continuous-servo AF
This is best for

stationary
subjects. The
autofocus locks
the focus distance as soon as its
focused on the target. The circular
green LED in the viewnder
conrms focus has been found.
ESSENTIAL KIT
AF-S Single-servo AF
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
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NIKON KNOW-HOW
ENSURING A
SHARP SHOT
Your Nikon has more controls for
focusing an image than you probably
imagine. Heres where they are
Focusing screen
NIKOPEDIA
Hidden below the pentaprism or pentamirror,

the focusing screen is what you see when you
look through the viewnder.
Manual focusing
To control the focusing yourself, rather than
using the AF system, you turn a ring on the
outside of the lens. Set the lens to MF rst.
Lens elements
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
To adjust the focus, groups of lens

elements are physically moved
within the lens.
movement in the scene but the key

subject itself is static.
AF-area modes
Alongside these focus modes, your
Nikon has a range of AF-area modes,
and these determine which focus
point or points the camera can use.
In Single-area AF, it will use a single
focus point of your choice you shift
the active
focus point
using the multiselector. The camera can still adjust
focus on a moving subject, but only
if it stays in line with the focus point,
which normally means its moving
directly towards or away from you.
In Dynamic-area AF, you select
the initial focus point in the same
way, but the camera

can also employ other
focus points to track a moving
subject. In Auto-area AF, its the
camera, not you, that decides which
focus point(s) to use.
When accuracy counts

Depth of eld can make focusing
even more critical when depth
of eld is small, theres minimal

margin for error, so precise focusing
becomes vital. Wider apertures,
longer focal lengths and moving
closer to the subject can all reduce
depth of eld.
Good light is also helpful, and not
just in terms of the brightness of the
scene. Lenses with wider maximum
apertures provide better autofocus
STEP BY STEP USE FOCUS LOCK FOR OFF-CENTRE SUBJECTS

Its easy to keep your subjects sharp and in focus, even when theyre not positioned in the centre of your image
Set your shooting mode
Pick the area mode
Select your focus point
Set the camera to AF-S

01
Single-servo AF. How you do
this varies: this D700 has a special
lever by the lens mount; on many
models, you select it on screen.
Set the AF-area mode to

02
Single-area AF. Again, the
method varies the D700 boasts a
dedicated lever, while most other
models have on-screen selection.
You now need to half-press

the shutter release button to
ready the camera for shooting, and
then press OK on the rear. This
selects the central focus point.
03
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Frame your shot

Aim the camera so the central
point is lined up precisely with
the point in the picture you want to
focus on. Here, its the girls left eye.
04
Adjust for your eyes

Viewnder
Mirror
The main mirror reects the image
created by the lens so it appears on
the focusing screen. It ips out of
the way when the shutter is red.
Sub-mirror
FOCUS CONTROL COURSE

You can change the focal length, or zoom setting, to
change the magnication, but it has other effects too
With every lesson in Nikon Know-how, you get some homework
to do this will help you put everything youve learned into practice!
To check you now have complete control over focus, nd two subjects
(two people, say, or even two cans from your kitchen cupboard) and
place them at different distances from you.
Set up a shot that frames both subjects tightly, and use a wide
aperture. Use A mode, and use the Command Dial (Sub-command
Dial on two-dial cameras) to set a wide aperture of, say, f/4 or f/5.6.
Use Manual AF point selection to take two shots, rst with the nearer
subject in focus, then with the further subject in focus.
Repeat the exercise, but this time take the pictures using manual
focus. Check all four images on your computer, so you can zoom in and
see that the subjects you wanted to be in focus really do look sharp!
Autofocus module
NIKOPEDIA
The main mirror is semi-silvered,

allowing some light to pass through
it to a hinged, secondary sub-mirror.
This reects light downwards,
towards the AF module.
CAMERA SKILLS
An eye-level viewnder gives a

visual guide to whats in focus, and
indicates when, and on what, the
AF is focusing.
To get the clearest possible

viewnder image, so you can
clearly see the AF points and
easily assess whats sharp,
you might have to adjust the
viewnder eyepiece lens to
suit your eyesight. All current
Nikon D-SLRs offer this dioptric
correction you normally turn
a small knurled knob by the topright corner of the eyepiece.
Lightly press the shutter
release button to activate the
viewnder display, then turn the
dioptric correction knob until
the icons and numbers look as
crisp as possible.
INTRODUCTION
A dedicated sensor is used to assess

the contrast and focus in small
areas of the image. Adjustments are
then communicated to the lens.
as they allow more light to reach the

autofocus sensor. Their shallower
depth of eld also makes subjects
snap in and out of focus. Whatever
aperture youre using for the shot,
the lens always focuses with the
aperture at its widest setting and
only closes as the shot is taken.
You can use the tricks and
techniques on these pages to
increase your focusing accuracy.

And remember, to make sure your
shot really is sharp where you want
it to be, always review the photo
youve just taken. You can zoom in
to examine the key part of an image
more closely on the LCD and make
sure its pin sharp.
Focus on the subject
Reframe the shot
Making the autofocus do what you want
Now lightly press the shutter

05
release button to activate the
autofocus. The AF point over
Hannahs eye lights up in red.
Keeping the shutter button

06
half-pressed, reframe the
shot. Then press the shutter button
down fully to take the picture.
So how do we make the camera focus on the sign thats further away
instead? Well, you can select a single focus point, position it carefully
and half-press the shutter button to lock the focus, or switch to Manual
focus and do it yourself practice makes perfect.
What the autofocus will try to do

By default, the autofocus will always try to focus on the object nearest
the camera in this case, the nearest of the two cemetery signs. A lot of
the time, this will be exactly what you want, but you also need to be able
to take over in situations where you want a different effect.
NIKON SOFTWARE
The dioptric correction knob by

the top-right of the eyepiece helps
you get your viewnder in focus
ESSENTIAL KIT
VIDEO GUIDES
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f/4
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ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
INTRODUCTION
NIKOPEDIA
NIKON KNOW-HOW
f/22
SO WHATS DEPTH OF
FIELD ALL ABOUT?
The narrow f/22 aperture makes more

of the scene look in focus, but it
doesnt guarantee everything is sharp
Discover how to get sharp shots every time with our beginners guide to focusing
A lens can only focus
precisely at one distance at
a time. However, things that are
closer or more distant than the
subject can still look sharp. This
zone of apparent sharpness can be
so shallow its virtually non-existent,
or can stretch to a distant horizon.
Zone of apparent sharpness is a
good working denition of depth of
eld. Only perfect focusing at one
distance can create pin-point
sharpness, but things on either side
may still appear sharp any blur is
too slight to be perceptible. Its
apparent sharpness that counts in
the real world. If something looks

sharp, even if theoretically it isnt,
its sharp enough for our purposes.
For landscape photography, we
normally try to get everything sharp,
from the grass at the tripod feet to
the distant hills. But its a matter of
choice, not a law.
In sports or portraiture, a shallow
depth of eld is often welcome, as it
throws distracting backgrounds and
foregrounds out of focus.
Staying in control
Depth of eld varies enormously, and
its governed by three factors. The
rst is aperture the size of the

opening created by the lenss iris.
Wide apertures give smaller depths
of eld. Remember that aperture
numbers are fractions, so f/16 is a
narrow option and f/4 is wide.
Most Nikon D-SLRs have a range of
Scene Modes: Landscape will set
narrow apertures, to increase depth
of eld, while Sport or Portrait lean
towards wider apertures. To control
the aperture, use Aperture Priority:
set the mode dial to A and tweak
settings with the command dial.
On cameras with two command
dials, use the sub-command dial on
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the front. As the aperture changes,

the camera adjusts the shutter
speed appropriately to keep the
overall exposure constant.
Altering aperture is easy, but it
wont always give the right results.
Fortunately, theres also the lenss
focal length. A longer focal length
reduces depth of eld. A wide-angle
setting (such as the 18mm end of a
standard zoom) is good for keeping
everything sharp. To blur the
background, use a long lens.
The third factor is the distance
between the camera and subject.
The smaller this is, the less depth
THREE WAYS TO AFFECT

DEPTH OF FIELD
INTRODUCTION
1. Changing the aperture
How aperture, focus distance and focal

length change what will appear sharp
Aperture: f/8
Focused at 10m with
zoom setting of 70mm
CAMERA SKILLS
The wider the aperture you use,

the less depth of eld you capture.
This isnt always a disadvantage, as
it enables you to throw distracting
elements out of focus.
Aperture: f/22
Focused at 10m with
20m
15mm
15
55mm
Red areas show how much of the

scene would be in focus for each
of the nine camera setups.
1m
1m
Aperture: f/2.8
Focused at 10m with
Lens focused on subject at 1m
Camera set to an aperture of f/8
with a lens setting of 70mm.
NIKOPEDIA
m
10
10m
Lens focused on subject at 5m

Camera set to an aperture of f/8
with a lens setting of 70mm.
15m
15m
10m
5m
1m
3. Changing the focal length
1m
Lens focused on subject

at 20m Camera set to an
aperture of f/8 with a lens
setting of 70mm.
10
2. Changing the
focus distance
5m The closer you are to the subject youre

focusing on, the less depth of eld youll
capture on camera.
Focal length: 70mm

Focused at 10m with
aperture set at f/8
20m
ESSENTIAL KIT
The zoom setting, or lens, that you use affects how much
of the image looks sharp. The wider the lens (the shorter
the focal length) the more depth of eld you capture.
Focal length: 28mm
Focused at 10m with
aperture set at f/8
NIKON SOFTWARE
20m
15m
10m
Focal length: 200mm

Focused at 10m with
aperture set at f/8
1m
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Telephoto effect
The more you zoom in on your
subjects, the less depth of eld
youll capture on camera.
VIDEO GUIDES
5m
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKOPEDIA
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NIKON KNOW-HOW
THE SCIENCE
OF CIRCLES
Whats really going on when bits
of your scene arent quite in focus
A single point on a subject is only registered as a point on
the cameras sensor if the lens is precisely focused at the
right distance. Otherwise, it will actually be recorded as
a circle (known as a circle of confusion).
NEARER TO YOU
Circles of confusion
Point of focus
FURTHER FROM YOU

Circles of confusion
Out of focus
Depth of eld
Out of focus
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
The further a point on the subject is from the point of focus, the bigger the
circle. When the circle is small enough, it will be indistinguishable from a point
in the picture. This creates the acceptably sharp range we call depth of eld.
of eld youll have. This is clear with

macro subjects, when depth of eld
all but disappears; you can focus on
a specic feature. But depth of eld
extends beyond the point of focus,
as well as in front focusing on the
most distant point wont give you the
maximum depth of eld.
Unfortunately, the three factors
controlling depth of eld dont
always work in harmony. You might

decide to swap to a wide-angle lens
to improve depth of eld. This makes
your subject look smaller in the
frame. To x this, youd move closer,
but this reduces depth of eld.
Sneak previews
Looking through the viewnder
doesnt show the effect of changing
Point on
subject
Camera
sensor
Lens
aperture it shows the view with the

lens wide open, but predicting the
end result isnt pure guesswork.
Most Nikon D-SLRs have a depth of
eld preview button, which stops
the lens to the selected aperture.
Unfortunately, this darkens the
image, making it harder to see.
A few Nikon D-SLRs, such as the
D3300, dont have a preview button.
Instead, the D3300 has Live View,

which previews the scene. However,
if you change the aperture while in
Live View, the view doesnt update
the camera resets the aperture if
you exit and resume Live View.
On cameras such as the D3000,
which have neither Live View nor a
depth of eld preview, examine the
playback image closely.
STEP BY STEP HOW TO PREVIEW DEPTH OF FIELD

Its easy to keep your subjects sharp and in focus, even when theyre not positioned in the centre of your image
Use the viewnder
Press for a preview
Ignore brightness
Look with Live View
Normally, the view uses the

01
widest aperture of the lens,
regardless of the setting youve dialled
in, so depth of eld is at a minimum.
Most Nikon D-SLRs have a

02
depth of eld preview button.
Pressing this closes the aperture
down to the selected setting.
Pressing the preview button

03
darkens the viewnder image
but will also give an idea of the
increase in depth of eld.
If your camera doesnt have a

preview button, use Live View
instead. To see the effect of different
apertures, exit and re-enter Live View.
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04
This assignment is designed to improve your knowledge

of depth of eld, and how to control it in your pictures
In focus
Blurred
Very blurred
Similarly, you can inspect the

image closely on playback,
using the same button to zoom in
and the multi-selector to move.
70mm at f/4
70mm at f/22
06
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VIDEO GUIDES
Reframe the shot
In Live View you can zoom in on

05
any part of the frame to assess
sharpness. Move the selected area
using the multi-selector.
18mm at f/22
ESSENTIAL KIT
Get a close-up
18mm at f/4
NIKON SOFTWARE
Circles of confusion (left) are signicant in everyday photography. Depth

of eld isnt simply a matter of some things being out of focus. Areas of a
scene can range from being slightly unsharp (a small circle of confusion)
to completely blurred. Things that are just outside the depth of eld zone
are still recognisable, and this can make them distracting.
To reduce or eliminate distractions, you might want to throw some
areas (normally the background) so far out of focus that theyre beyond
recognition. This may mean doing everything possible to keep depth of
eld to a minimum. This is why many pros prefer lenses with the widest
maximum apertures, as these allow depth of eld to be minimised.
NIKOPEDIA
Degrees of sharpness
Depth of eld is more limited at close range, so working at the

tabletop scale makes it much easier to see a difference in results. Here,
weve used a Monopoly set, but you could use bottles and cans from your
kitchen cupboard equally well.
If possible, use a tripod to take camera-shake out of the equation
that way, the only source of blur is the limit of depth of eld. If you dont
have a tripod, use a brightly lit room and a high ISO (try ISO1000) to keep
shutter speeds acceptably high as you explore a full range of apertures.
Frame your still life using the longest setting of your standard zoom
lens (this is usually 55mm). Focus on the part closest to you. Set the
mode to Aperture Priority (A) and use the command dial (or the
sub-command dial on some models) to set the widest available aperture
(usually f/4-5.6). Now take a picture. Shift the aperture to f/22, keeping
all other settings the same, and take a second shot.
Now zoom out to the widest zoom setting available (this will usually
be 18mm). Repeat the sequence, taking one shot at the widest possible
aperture and another at f/22.
Look at all four images on your computer, zooming in to see exactly
which subjects look sharp, and noticing the degree of blur in different
parts of your shots. Youll probably nd that even at f/22 everything
isnt perfectly sharp, but that zooming out gives more depth of eld and
reduces the blur on bits that were drastically out of focus.
CAMERA SKILLS
DEPTH OF FIELD
COURSEWORK
INTRODUCTION
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Just right
NIKOPEDIA
CAMERA SKILLS
INTRODUCTION
NIKOPEDIA
NIKON SOFTWARE
Too dark
Getting the exposure right makes

a major difference to results
ESSENTIAL KIT
NIKON KNOW-HOW
WHATS
EXPOSURE
ALL ABOUT?
VIDEO GUIDES
Getting the light right is one of the most

important keys to a good-looking photo
The word exposure has
been in use since the very
beginning of photography. To make
an image, you expose light-sensitive
material to a controlled amount of
illumination. That material could be
a chemical emulsion coated onto
lm or a glass plate, but these days

its much more likely to be a digital
chip, such as the CMOS sensor at the
heart of your Nikon D-SLR.
The word exposure is used in
more than one sense. An exposure
is almost synonymous with a photo
early photographers would talk

about making an exposure, while
more recently a roll of 35mm lm
would allow 24 or 36 exposures.
However, the word is now used
more often in relation to the vital
business of making sure the right
amount of light reaches the sensor
for each image. We talk about
exposure metering, about getting
the exposure right and about shots
being under- or over-exposed.
Moving the goalposts

One of the most fundamental facts
in photography is that light levels
vary. Outside controlled studio
environments, they can change
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constantly and often unpredictably.

To deal with this, Nikon D-SLRs have
three key controls. It doesnt matter
whether you have a D3300 or a D4
the fundamental exposure
controls are the same.
Two of the three have been
present on virtually every camera
ever made. The rst is exposure time
(usually referred to as shutter
speed), which is perhaps the easiest
to understand. If you expose the
sensor for a longer time, you let in
more light. Early cameras didnt
have shutters, and exposures were
often made by removing and
replacing the lens cap. Shutter
speed aside, another way to affect
CAMERA SETUP
Handy buttons and dials you should know
Every Nikon D-SLR has

an exposure compensation button,
and its position is fairly consistent.
Look on the top plate, near the
shutter release.
Main command
dial
You can use this
in conjunction
with the exposure
compensation button
to set an exposure
compensation level.
Exposure
bracketing
(BKT) button
The D90 has a dedicated bracketing
button on the front-left side, near
the lens mount. The D70, D80,
D7000, and D7100 are similar.
The D90s ISO button is on the rear,

to the left of the LCD screen.
And on other Nikon cameras

ISO button
Information display
The position of the ISO button

varies quite a bit across the Nikon
range. On the D300, D300s and D700 its in the
cluster on the left-hand side of the top plate.
For the D70, D80, D7000 and D7100, see above.
You can set exposure bracketing

on the D5000 series through
the information display on the rear LCD. This
screen controls ISO on the D40, D60, D3000
series and D5000 series.
Fn button
On the D300, D300s and D700
theres no separate BKT button.
Instead, the Fn button can be programmed to
perform this function (the preview and AE-L/
AF-L buttons can also be set to do this).
Dont be a slave to your camera personal taste counts too
High key
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even when your camera is consistently

delivering correct exposures.
Cameras such as the D5300 have a
wide range of Scene Modes. Some of
these are intended to produce
relatively light or dark overall
exposure levels. For example, Beach/
Snow is designed to preserve the light,
bright feel of coastal or snow-covered
environments. On the other hand,
Sunset and Silhouette are aimed at
producing deep, intense colours.
VIDEO GUIDES
The shot above suits a lighter,

or high key, treatment, and
the other is naturally darker,
or low key
While you can rely on your Nikon

camera for an acceptable exposure
most of the time, theres also a
subjective element. Some people like
slightly darker results, for example,
which can give deeper, richer colours.
Others prefer a lighter overall feel for
more sparkle. Different approaches
suit different subjects.
This is one of the reasons its worth
experimenting with exposure
compensation or exposure bracketing
ESSENTIAL KIT
ROOM FOR INTERPRETATION
Low key
NIKON SOFTWARE
ISO button
NIKOPEDIA
Some key controls are in much

the same place on every Nikon
D-SLR, but others move
around. Were using a D90 as
our main example, while the
smaller illustrations show
where to nd the controls on
other models.
Exposure
compensation
CAMERA SKILLS
EXPOSURE CONTROLS AND

WHERE TO FIND THEM
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
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NIKON KNOW-HOW
Aperture
KEY EXPOSURE
FACTORS
Think of the aperture as how

many turns the tap is turned
on by do you want a trickle
of light or a torrent?
Exposure is like lling a cup with water

Several things control exposure, and therefore the amount of
light that creates the image on the cameras CMOS sensor. To
understand how these factors work together, it can help to
think of controlling exposure as lling a cup with water...
NIKOPEDIA
Shutter speed
This corresponds to the amount of time the tap
is left on for. It works hand in hand with
aperture you can have the tap on full for a
short time or open just a little bit for longer to
get the same volume of water.
Intensity of light
This is like the water pressure. If the
pressure is high, you dont need to turn the
tap on so far, or for so long, to ll the glass.
A matter of taste
ISO setting
NIKON SOFTWARE
Exposure isnt all about science, its also about

artistic interpretation. Exactly how full do you
prefer your cup of water to be?
how much light gets to the sensor is

to change the aperture setting.
The third well-known factor is the
ISO setting. Altering this makes the
sensor more or less sensitive to the
light it receives.
Using your judgement
VIDEO GUIDES
ESSENTIAL KIT
Although your D-SLRs superb

exposure metering system, which
ISO is like the size of the glass. A small vessel

(a high ISO) will ll more quickly than a big one.
will give good results in most

situations. It can still go wrong,
though. Fortunately, you can review
the shot youve just taken on the
LCD. The screen also offers some
more precise checks, such as the
handy histogram.
But the metering system might
not always get the result you want.
Fortunately, there are several ways
to ne-tune or override it and get

closer to the perfect shot
First, theres exposure lock, which
allows you to take the meter reading
from one area of the scene and then
reframe the shot.
Exposure bracketing (see box,
right) is a way of telling the camera
to take a series of shots at different
exposures. You can then choose the
best one later. Basically, its a quick

way of hedging your bets.
Exposure compensation (see
below) allows you to increase or
reduce the overall exposure by an
amount of your choice.
As a nal alternative, you can
always set the camera to manual (M)
mode and take direct control of both
aperture and shutter speed.
STEP BY STEP APPLYING EXPOSURE COMPENSATION

With a little trial and error, its easy to make sure your camera lets in just the right amount of light
Find the right button
Look at your LCD
Use the multi-selector
Choose a value
On some cameras, exposure

01
compensation is only available
in Program, Shutter Priority and
Aperture Priority modes.
Hold down the exposure

02
compensation button and
rotate the command dial (the main
command dial on two-dial cameras).
On the D3000 series and D5000

03
series you can also apply
exposure compensation through the
information display on the LCD.
Compensation can be between

-5EV and +5EV, in steps of
1/3EV. Its rare that youll need to go
all the way to one of these extremes.
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04
+1EV
When youre concerned about getting a perfect shot,

exposure bracketing is a handy form of insurance
+2EV
1/125 sec at f/8, or 1/250 sec at

f/5.6, for example.
In practice, we mostly
encounter EV when setting
exposure compensation or
exposure bracketing, where it
serves as a measure of the
difference between two or more
exposures. A difference of 1EV (or
one stop) doubles or halves the
amount of light admitted. This
usually makes a noticeable
difference in the nal image.
NIKON SOFTWARE
More traditional photographers

will often refer to altering
exposure by a stop. The more
modern term is exposure value
(EV for short). This is used in
Nikon camera menus and
instruction manuals, as well as
many other places.
The EV concept is designed to
recognise the fact that many
different combinations of shutter
speed and aperture can produce
the same overall exposure:
NIKOPEDIA
Stops and EVs explained
You can try exposure bracketing with any subject. However, its best
to shoot something with a broad range of colours and tones. Its also
better to pick a fairly static subject, as movement between shots can be
a distraction. A well-lit landscape, urban or rural, is ideal.
A tripod is helpful, but not essential. Try to ensure that all your shots
are framed similarly, so youre looking at the same subject each time.
Use Aperture Priority or Program mode. On most Nikon D-SLRs, press
the BKT button and rotate the main command dial to set the number of
shots in the sequence to three. Still pressing BKT, rotate the subcommand dial to select a 1EV increment (exposure difference) between
shots. On a D5000 series camera, control these settings in the
information display. If you have a D40, D60, or D3000 series camera,
youre out of luck, as these have no auto bracketing, but you can get the
same result with exposure compensation.
Now take your shots. You might be able to hear a difference in the
shutter sound, indicating that the camera has varied the shutter speed
to get the different exposures. Check the results.
Looking at the LCD will give you an idea of the difference between the
bracketed exposures, but studying them on your computer screen will
tell you more. Which exposure gives the richest colours? Have shadows
gone black in the darkest shot?
CAMERA SKILLS
THE RIGHT WAY TO USE

EXPOSURE BRACKETING
INTRODUCTION
ESSENTIAL KIT
Wipe the setting
Having set your compensation

05
level, take a shot and review it
on the LCD. If the exposure still needs
tweaking, repeat the procedure.
When youve nished with the

shot or sequence of shots, set
compensation to 0EV so it isnt
applied to future images.
06
Underexposed
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Metered exposure
Overexposed
VIDEO GUIDES
Do some ne-tuning
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85mm at f/5.6
85mm at f/1.8
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
INTRODUCTION
NIKOPEDIA
These lenses both offer an 85mm focal length but on the 16-85mm the aperture
can only be opened to f/5.6 at this setting (left). The 85mm prime can limit
depth of eld more, and let in more light, with its f/1.8 maximum aperture (right)
NIKON KNOW-HOW
SO WHATS
APERTURE ALL
ABOUT?
Understand aperture and f-stops and youll
get sharper, more creative shots
No matter what camera or
exposure mode you use,
there are just two main ways to
regulate how much light reaches
an image sensor. One is shutter
speed, which well examine next
issue. The other is aperture
Aperture has an important effect
on depth of eld, which we explored
in issue 3, but it can impact on the
sharpness of your images in other
ways, too. Its also directly related to

the working distance when youre
using ash, and maximum aperture
is an important factor in
differentiating lenses.
Yet the concept of aperture can
be confusing. For example, its
described by irregular numbers such
as f/2.8 and f/5.6. And in topsy-turvy
fashion, big gures relate to small
apertures and vice versa.
So what is aperture anyway? Well,

its not just a bit of jargon the word
means a hole, or opening. More
specically, the aperture is an
opening located within each lens. Its
size is controlled by a diaphragm
that performs in a similar way to the
iris in your eye. Maximum aperture
varies between lenses.
Open wide
Its easy to understand that a small
opening will admit less light than a
big one. However, the idea can get
confusing because of the system
used to describe the apertures size.
There is logic to it, though!
The crucial point is that aperture
numbers are fractions: f/2 means
focal length (f) divided by 2. So on a
50mm lens, f/2 means the diameter
of the aperture is 25mm. On a
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200mm lens at f/2, the aperture

would be 100mm wide. This helps
explain why bigger numbers refer to
smaller apertures.
However, the amount of light that
can pass through an aperture is
proportional to the openings area,
not its diameter. If you halve the
diameter (from f/2 to f/4, for
example) the area decreases by a
factor of four. Its the in-between
setting of f/2.8 that gives half the
area and half the amount of light.
This is why the aperture scale
includes seemingly irregular
numbers such as f/2.8 and f/5.6.
In traditional photographic
terminology, halving or doubling the
amount of light is called a one-stop
change. Today, we often refer to it as
1EV, or exposure value, but it means
essentially the same thing.
APERTURE NUMBERS
Your at-a-glance guide to aperture scales and what the numbers mean
1/2 stops
1/3rd stops
f/2.8
2.8
2.8
3.2
ONE STOP
5.6
f/5.6
5
5.6
6.3
7.1
8
9
f/11
TWO STOPS
9.5
11
13
f/16
16
19
f/22
22
10
11
13
14
16
18
20
22
The widest apertures have

f-stops with the smallest
numbers. The maximum aperture
available depends on the lens youre
using. On many zoom lenses, for
example, the maximum aperture gets
smaller as you zoom in.
Medium apertures
The middle apertures on your
lens tend to give you the
best-quality images. However, they might
not give you the amount of depth of eld
you require. Think of it as a balancing act,
with some compromise required.
Narrow apertures
Most lenses have a minimum
aperture of f/22, although some
stop at f/16 while others go down to f/32.
As aperture gets smaller, depth of eld
increases. Ultimately, though, the image
resolution deteriorates due to diffraction.
See page 76 for more on this.
Understanding screen diagrams
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JARGON BUSTER
Depth of eld
A lens can only focus
precisely on one point,
but there will be a zone
of apparent sharpness in
front of and behind the
subject. Depth of eld
describes how far this
zone extends.
VIDEO GUIDES
All Nikon D-SLRs will show what aperture

youre using (F11 or f/11 in the example here).
However, D3000 series and D5000 series
cameras also give you a graphical depiction of
the aperture on their information displays. If
youd like to see this, go to the Setup menu,
select Info display format and check Graphic.
The diagram then shows roughly how wide the
aperture is set and is a reminder that bigger
numbers relate to small apertures.
ESSENTIAL KIT
GRAPHIC
REMINDERS
NIKON SOFTWARE
MORE DEPTH OF FIELD
3.5
4
4.5
6.7
f/8
LESS LIGHT
4.8
NARROW APERTURES
LESS DEPTH OF FIELD
f/4
Wide apertures
NIKOPEDIA
MORE LIGHT
3.3
WIDE APERTURES
Full stops
CAMERA SKILLS
MAKING SENSE OF F-STOPS
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
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NIKON KNOW-HOW
Demystifying diffraction
WHAT AN APERTURE
LOOKS LIKE
As a photographer, its important to know that any

light travelling through your lens does so in wave
form. When it passes through the aperture, it
spreads out before hitting the sensor. This
spreading effect is called diffraction. With wide
apertures its minimal, but with smaller ones it
gradually becomes more severe. At the very
smallest apertures it can be so severe that it
creates a fuzzy image on the sensor.
Take a tour of your lens

While the concept of aperture can be
tricky to grasp, the physical side of it is
incredibly simple. Heres whats going
on inside your lens barrel, where a
motor keeps aperture under control
NIKOPEDIA
Iris blades
With a wide aperture you get minimal bending
The aperture is created by a diaphragm

formed by intersecting blades. These
usually number between ve and nine
on any one lens.
Motor
Lens component
This opens and closes the aperture when

the shutter res. It matches the
f-stop set by you or the camera, and the
focal length youre using.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
The aperture assembly is located in the

barrel of each lens you use, between the
lens elements.
Your Nikon also enables you to

change aperture and shutter speed
in smaller steps, for ner control. On
most D-SLRs, you can choose steps
of 1/2EV or 1/3EV.
Aperture is crucial in determining
depth of eld, or how much of a
scene appears sharp. If other factors
(such as the lens focal length and
distance to the subject) stay the
same, using a smaller aperture will

give greater depth of eld. However,
you cant just keep stopping down
to ever-smaller apertures. Theres a
reason most Nikon lenses dont go
smaller than f/16 or f/22 lens
design is complex, but almost all
lenses give their sharpest images at
middling apertures such as f/8 or
f/11. Below this, depth of eld
A narrow aperture means signicant bending
increases but competes against an

across-the-board reduction in
sharpness thats largely due to a
phenomenon known as diffraction.
Comparing lenses
Describing aperture by fractions
enables us to compare lenses. Every
model includes details on maximum
aperture 50mm f/1.8 or 135mm
f/2.8, for example. Lenses with a

large maximum aperture are called
fast lenses because they allow
quicker shutter speeds to be used.
Comparing two lenses of the same
focal length, a faster one will
normally be bigger and pricier, but
might be of better quality, give a
brighter viewnder image and allow
extra shooting options.
STEP BY STEP TAKE CONTROL OF APERTURE

With a little trial and error, its easy to make sure your camera lets in the right amount of light
Choose a scale
Step up or down
Look on the back
Have a look on top
Most Nikons give a choice of

01
aperture scales, in steps of
1/2EV, 1/3EV or 1 EV. To switch scales,
go to the Custom Settings menu.
Look for menu item b1 or b2,

02
which is usually called EV
steps for exposure cntrl. Scroll to
make your choice, then press OK.
You can see which aperture

03
setting youre using on the
viewnder. Half-press the shutter
button to see an f-stop, left of centre.
Mid- and high-end D-SLRs (from

the D90 up) also have a top-plate
LCD that gives a handy readout of your
exposure settings, including aperture.
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04
Eight blades
INTRODUCTION
TEST YOUR LENS
An eight-bladed diaphragm
produces some obvious
octagonal highlights
Nine blades
A nine-bladed diaphragm
gives more circular bokeh
Often, the aperture setting we choose is limited by external factors.

For example, you need a small aperture to boost depth of eld and a
wide one for fast shutter speeds. However, there are many occasions
when depth of eld isnt really an issue if youre photographing at
surfaces face-on, for example. When your subjects stationary you can
try a wide range of speeds safely, especially if you use a tripod.
At such times, youre free to think about which aperture setting
gives the best results from the lens youre using. However, this can vary
between lenses, so this issues assignment is to nd out the optimum
aperture for each lens you own. Heres what to do
CAMERA SKILLS
Knowing which aperture settings work best for your

setup can save you time and ensure great results
NIKOPEDIA
BLADES AND BOKEH
f/32
The number of blades forming the

aperture diaphragm has a big
effect on how out-of-focus, or
bokeh, areas appear. Bokeh is
most clear on subjects with bright
highlights, such as city lights at
night. With a lens maximum
aperture, these will look perfectly
circular. At middling settings,
theyll mimic the aperture shape

hexagonal with six blades, and so
on. Many Nikon lenses have seven
or nine slightly curved blades, so
bokeh is more circular.
At very small apertures, bokeh
is star-shaped, with the number of
points per star equal to twice the
number of diaphragm blades.
NIKON SOFTWARE
How your lens can change the shape of out-of-focus spots
f/2.8
f/8
Find some paper with ne-printed type try a phone directory or

newspaper. Make sure that its completely at and set up the
camera to photograph it exactly head-on. The slightest camera-shake
will make the results meaningless, so use a tripod.
01
ESSENTIAL KIT
Its normal to get the best

image quality at medium
apertures f/8, in this case
Frame the page so it lls the viewnder. Use Aperture Priority (A)
mode and set the aperture to its widest setting. Focus and take a
picture. Repeat, working through the available apertures at full-stop
intervals (see page 75). Repeat again for each lens you own.
02
Other options
The easy way to control aperture

On the D3000 series and D5000
05
06
is with Aperture Priority (A) mode.
series, hold the exposure
Rotate the sub-command dial to get the compensation button and turn the
value you want.
command dial to change the aperture.
Load test images onto your computer and view them at high
magnication. Resolution and contrast should improve visibly for
images taken with a medium aperture, and decline again as you
approach the lens minimum aperture. Make a note of the setting that
gives the best results with your lens.
03
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VIDEO GUIDES
Make changes
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1/500 sec
45 secs
CAMERA SKILLS
INTRODUCTION
NIKOPEDIA
NIKON SOFTWARE
NIKOPEDIA
1 sec
VIDEO GUIDES
ESSENTIAL KIT
NIKON KNOW-HOW
SO WHATS SHUTTER
SPEED ALL ABOUT?
Master shutter speed and take full control of your Nikon
There are only two main
ways of regulating how
much light reaches your cameras
image sensor aperture and
shutter speed. Having already
examined aperture (see page 74),
well now reveal all you need to know
about shutter speed.
The parameter is important for
several reasons. Whenever theres
movement, different shutter speeds
alter how our images look, and this
is true whether its the subject that

moves, the camera or both. Shutter
speed also has an important role in
determining when we can use ash.
Unlike the apparently topsyturvy numerical scale for aperture,
shutter speed values are simple to
grasp. Its easy to understand that
1/2 sec is a longer time than 1/125
sec. However, Nikon D-SLRs dont
display shutter speeds in fractional
form. In all of the cameras displays,
1/2 sec is shown as 2, 1/125 sec as

125 and so on. Exposure times of one
second or longer use the seconds
symbol, appearing as 1", 4" and so on.
In the picture
So how does the shutter speed
affect what youll see in your
pictures? Suppose the camera and
the subject are static, such as in a
still-life setup. In this case, you wont
see any difference in shots taken at
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different shutter speeds, as long as

the aperture and/or ISO rating are
adjusted to keep overall exposure
constant. As soon as theres any
movement, however, changing the
shutter speed can have a dramatic
effect on the exposure.
First, theres movement of the
camera. This can blur everything.
Usually, this isnt helpful we
refer to camera-shake as a bad
thing. However, there are ways to
use controlled camera motion to get
beautiful or exciting results.
The most obvious is the panning
shot, where you track a moving
subject. If the camera is still and the
subject moves, shutter speed will
determine whether any blur is
visible and, if so, how much.
SHUTTERS EXPOSED
CAMERA SKILLS
CURTAIN CALLS
The ne details of how shutter speed is controlled
position by the camera at the end of every exposure,
ready for the next shot. Using two blinds ensures that
the whole image area gets the same amount of light. The
top of the scene is exposed to the sensor rst, but this
part is also blocked off rst by the second curtain. At the
end of the exposure, the rst curtain is fully open and the
second fully closed.
Normal ash is only possible when the entire area of
the sensor is exposed at the same time. This never
happens with faster shutter speeds (shorter than 1/200
sec or 1/250 sec), making these the limit for normal
ash operation.
Flash sync speed

This is the highest shutter
speed you can use with a
normal ashgun.
Slow shutter speeds

When youre shooting at 1/10 sec, as in this
example, both curtains are fully open for part
of the exposure (B), allowing light onto the
whole of the sensor.
Speedlights with FP
High-speed Sync mode can
work at fast shutter speeds.
NIKON SOFTWARE
High-speed ash
NIKOPEDIA
Your Nikons shutter controls how long the sensor is

exposed to light for. It uses a pair of curtains, or blinds,
to do this (see page 80). The rst opens to start the
exposure, and the second closes to end it. At slower
speeds, both curtains are open for some of the exposure.
At faster speeds (anything above the ash sync speed of
1/200 sec or 1/250 sec) the second curtain begins to close
before the rst has completed its travel. This means
that the sensor is effectively exposed to light through a
moving slit.
At the start of each exposure, the rst curtain is fully
closed and the second fully open. They are reset to this
INTRODUCTION
ESSENTIAL KIT
At quick shutter speeds, the second blind

starts closing before the rst has nished its
travel this exposes the image evenly.
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VIDEO GUIDES
Fast shutter speeds
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
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NIKON KNOW-HOW
Motor
WHAT A SHUTTER
LOOKS LIKE
Though its controlled

electronically, the shutter
itself is mechanical, with
its own motor for ring
and cocking the blinds. A
separate motor is used to
raise the mirror just before
the shutter res.
How the mechanism works

We delve deep inside a Nikon D-SLR to
show exactly how the shutter system
works, and how it can control exposure
so accurately
NIKOPEDIA
Focal plane
Nikon D-SLRs use a vertical-travel focal
plane shutter. Focal plane indicates
that its located just in front of your
cameras sensor.
Longevity
The expected life of the
mechanism varies from
model to model. The
D4s shutter is rated for
400,000 releases.
Twin blinds
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
The shutter mechanism is made up of two

ultra-thin blinds that move up and down.
One opens to start the exposure, the second
follows to close it.
The result depends not just on how

fast the subject is moving, but how
close it is to the camera, too. Youll
need a faster shutter speed to get a
sharp image of someone running or
cycling close to you than you would
to capture an express train thats
hurtling by 50m away.
Whatever exposure mode youre
using, the camera will tell you what
shutter speed is being set, but in

Auto mode (and the Scene modes
that many Nikon D-SLRs offer) you
cant control it directly.
Taking charge
When you want direct control, the
natural mode to use is Shutter
Priority, marked with an S on
the mode dial. As you change the
shutter speed, the camera adjusts

the aperture automatically to
maintain the same exposure.
You can also control shutter
speed directly when using Manual
(M) mode. In Aperture Priority
(A) mode you can see the shutter
speed change as you adjust the
aperture, so again its easy to get
to a suitable setting. Finally, in
Program (P) mode you can rotate the

command dial to shufe through
different combinations of aperture
and shutter speed this is called
Flexible Program.
However, when youre going to be
experimenting with shutter speeds
to see their effects, the best mode
to use is Shutter Priority (S). We used
it for many of the shots here.
STEP BY STEP CONTROL SHUTTER SPEED

Adjust the amount of blur and sharpness in your images using Shutter Priority mode
Select a mode
Check settings
Set the Exposure mode to

The best place to see the
02
01
Shutter Priority (S). Rotate the
shutter speed youve set is in
rear command dial to set shutter speed the viewnder. Half-press the shutter
aperture is regulated automatically.
button and look in the bottom-left.
Look at the LCD
Top screen
You can also see the shutter

03
speed in the Info display on the
rear LCD. In Live View, the shutter
speed is at the top of the screen.
Most Nikon D-SLRs have a

top-plate LCD screen (the control
panel) that shows exposure settings.
Shutter speed is shown at the top.
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04
1/2 stops
1/3 stops
f/2.8
1/4000
1/4000
1/4000
1/3200
1/3000
1/2000
1/1000
1/1250
1/1000
1/800
1/1000
1/750
1/500
1/350
1/250
1/320
1/250
1/200
1/250
Third of a stop
1/640
1/500
1/400
1/500
1/80
1/60
1/50
1/60
1/45
1/30
1/40
1/30
1/25
1/30
1/20
1/20
1/15
1/15
1/500 sec
1/125 sec
1/30 sec
Use Shutter
Priority (S) mode
and set an ISO of 400.
Set the release mode to
Continuous (C) or
Continuous High-speed
(CH). Set the focus mode
to Continuous-servo AF
(AF-C).
PLAYING BY NUMBERS
Your complete guide to the shutter speed scale
Set the shutter

speed to 1/4000
sec. This will show as
4000. If the aperture
readout changes to Lo,
increase the ISO. Get
your volunteer to move
past you, and take some
shots as they pass by.
02
Repeat using
slower shutter
speeds: 1/1000, 1/250,
1/60, 1/15 and 1/4 sec
should give a good range
of results. Check your
images on a computer
which show artistic blur?
03
Most Nikons offer a choice of two different shutter speed scales one
with 1/2 stop steps, the other with 1/3 stop steps. Pro models also allow
full-stop intervals. Each full-stop interval represents a doubling or
halving of the amount of light reaching the D-SLRs sensor.
ESSENTIAL KIT
Panning at 1/30 sec
Change the fraction
On most Nikons you can vary the

05
fraction by which you change
shutter speed every time you stop up
or down. Go to Custom Settings.
Theres a choice of 1/3 step or 1/2

step. Pro models also enable
full steps, while entry-level models
have xed 1/3 steps.
06
Repeat the exercise, this time panning your camera as the

cyclist or runner crosses the frame. Test out different shutter
speeds and see which one gives the best action blur.
04
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VIDEO GUIDES
Set the scale
NIKON SOFTWARE
1/15
Your Nikon gives you great control over the way moving subjects will
appear. This assignment will help you explore that potential. For the
exercise, we recommend using a tripod to eliminate camera movement.
Youll also need a willing (and reasonably t!) volunteer to run or cycle
past you several times at a consistent speed. In the examples here, the
rider was travelling at about 20mph.
NIKOPEDIA
1/60
One stop = shutter open twice as long
1/90
Slow speeds = blurred images

of moving subjects
1/160
1/125
1/100
1/125
Knowing which aperture settings work best for your

setup can save you time and ensure great results
01
1/180
1/125
SPEED CAMERA
CAMERA SKILLS
1/1500
One stop
1/2000
1/2500
1/2000
1/1600
Fast speeds = sharp images

of moving subjects
Full stops
INTRODUCTION
INTRODUCTION
NIKOPEDIA
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CAMERA SKILLS
If you want a fast, or

the fastest, speed then
Aperture Priority (A) is the
best mode to use
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
For a specic speed for

creating blur, say choose
Shutter Priority (S)
NIKON KNOW-HOW
WHICH SHOOTING MODE?

Choosing the right mode is central to getting the best out of your camera and subject
Some camera modes are
more useful than others it
depends on how much control you
want to have over settings. In the
last couple of issues we looked at
the importance of shutter speed and
aperture selection. When you choose
a shutter speed (or aperture), the
aperture (or shutter speed) has to
change as well in order for the
overall exposure to be right.
The exposure mode you use
dictates how the particular pairings
of shutter speed and aperture are
chosen, and the exposure modes on
a typical Nikon D-SLR can be broken

into three types.
The traditional ones are known as
the PASM modes. Each enables you
to specify exactly what shutter
speed or aperture you use, giving you
full creative control. Nikons
professional D-SLRs only offer PASM
modes, and they dispense with the
mode dial altogether. Instead, you
hold down the mode button and turn
the command dial to select the
setting you want to use.
The second group consists of the
Scene modes, such as Portrait,
Landscape and Sports. These are

fully automatic exposure modes
that set the shutter speed and
aperture for you, giving you no direct
control over the settings. But they
arent always good solutions. The
Portrait mode will set a wide
aperture to blur the background, for
instance, but this isnt desirable in
all pictures of people.
These Scene modes take control
of other camera settings, too. They
set the autofocus and White Balance
for you, for instance, and usually
wont let you shoot in RAW. On some
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models, the Scene modes all appear

on the mode dial. On others they
might be under a single Scene
setting, or be split between the two.
The third group of modes are
point and shoot ones designed for
beginners. The green Auto mode
takes care of all the camera settings
automatically, making it ideal for
novices. D3000 series cameras also
have a Guide mode that offers
interactive assistance as you learn
to shoot different types of subject,
while D5000 series cameras have
an Effects setting for applying
SHOOTING MODES
INTRODUCTION
MAKE SENSE OF SHOOTING MODES

Auto mode
Sports mode
If youre a complete novice,

this mode is ideal because
the camera takes care of all
the settings automatically.
The ash is switched off

and the camera uses faster
shutter speeds to help freeze
fast-moving subjects.
Use this if you want to choose the

shutter speed yourself. The camera
will set the aperture automatically
so that the exposure is correct.
Close-up mode
Auto Flash Off mode

The same as Auto, but
for museums, theaters or
indoor sports venues where
using a ash might get you thrown out!
Shutter Priority
This favours a smaller

aperture to improve depth of
eld. Consider using a tripod
when theres a risk of camera-shake.
Ideal for general use, or when

theres little time to think. The
camera sets the shutter speed and
aperture but you get to control other settings.
Night Portrait mode
The camera softens skin

tones and uses a wide
aperture to throw the
background out of focus.
NIKOPEDIA
Portrait mode
Program AE mode
The ash res to light your

subject, but the camera uses
a slower shutter speed to
capture the background lighting too.
Landscape mode
CAMERA SKILLS
The mode you choose affects the amount of control you have over camera settings
Manual mode
This is designed for experts.
You choose the shutter speed
and aperture yourself, though
the camera still suggests settings.
Child mode
Aperture Priority
In this mode, the camera

makes backgrounds and
clothing colourful but keeps
skin tones soft and natural looking.
Use this if you want to choose

the aperture yourself. The
camera will set the shutter
speed automatically for correct exposure.
GUIDE
A special feature on D3000 series
cameras that shows you what to
do as youre taking pictures. Its
great for learning about photography.
NIKON SOFTWARE
Designed for vivid landscape

shots taken in daylight. The
built-in ash is switched off
and you might need a tripod in poor light.
CAMERA SETUP
If you dont like the aperture and shutter speed combination your camera has chosen, you can easily change it
Info display
Faster and wider
Slower and narrower
You select the Program mode by

turning the top dial to P. This will set
both aperture and shutter speed for
you, based on the lens youre using,
the ISO setting and the metered
light level.
The viewnder and LCD display will

show the shutter speed and
aperture settings currently chosen
by the camera. If this isnt visible,
half-press the shutter button to
reactivate the meter.
If you want a faster shutter speed

than the one suggested by your
camera, or a wider aperture, turn
the rear command dial to the right.
Youll see the settings change in the
viewnder (or on the LCD).
If you want a slower shutter speed,

or a narrower lens aperture, turn
the wheel to the left. In both cases,
youll see a P* symbol to remind
you that youve used the Flexible
Program feature.
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VIDEO GUIDES
Program mode
ESSENTIAL KIT
HOW TO SHIFT THE SETTINGS IN P MODE
INTRODUCTION
NIKOPEDIA
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NIKON KNOW-HOW
How does Nikons all-purpose Program setting differ to the specic Scene modes?
The Program mode on your
Nikon D-SLR automatically
sets both the shutter speed
and aperture based on the
light levels measured by the
cameras exposure meter.
But it does this intelligently,
adapting the program to
different focal lengths and
shooting conditions.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
PROGRAM MODE vs SCENE MODES
D3000 series and D5000 series

cameras show a representation
of the aperture and shutter
speed on the LCD display
P mode
Sports mode
Landscape mode
In P mode, the camera isnt set up

for any specic kind of photography,
so it chooses combinations of
shutter speed and aperture that
are designed to provide a good
compromise between sharpness
(higher shutter speeds) and depth of
eld (smaller lens apertures). Often,
this is all you need.
Shutter speed: 1/200 sec
Aperture: f/5.6
If you select the Sports mode, youre

telling the camera youll be shooting
fast-moving subjects. It then adapts
the exposure program to favour
faster shutter speeds rather than
smaller apertures. Youll get less
depth of eld, but youre also less
likely to get any movement blur,
which is much more important.
Aperture: f/3.5
With landscape photography, you

need good depth of eld so that
objects both far away and nearby are
sharp. When you select Landscape
mode, then, the camera favours
small apertures because theyre
more important than fast shutter
speeds, though you may need a
tripod to prevent shake.
Aperture: f/11
Night Vision, Miniature and other

effects to your photos.
Shutter or aperture?
Its the rst group of modes that you
really need to learn to use. But
which of the four PASM settings is
best? It often comes down to
personal taste, but its worth

learning what each one does.
A stands for Aperture, as in
Aperture Priority. You set the
aperture and the camera sets the
shutter speed for you to ensure a
good exposure. A is undoubtedly the
most versatile mode. Despite its
name, you can use it to set a

particular shutter speed just as
quickly you just turn the dial until
the desired setting is displayed.
S, or Shutter Priority, works in the
opposite way. You set the shutter
speed and the camera sets the
aperture. Its less useful than A
because the range of apertures

available is much more limited than
the range of shutter speeds, and the
camera might not have a suitable
aperture to pair with your selected
speed. But S mode does come into
its own where a precise shutter
speed is needed for a particular
STEP BY STEP HOW TO SHOOT IN MANUAL MODE

This takes more experience but gives you control over shutter speed, aperture and overall exposure at the same time
Switch to M
Change the shutter speed
Tweak the aperture
Use the indicator
On most Nikon D-SLRs you can

01
do this on the main mode dial,
but on professional models theres a
mode button that you use in
conjunction with the command dial.
You do this with the rear

02
command dial. As the shutter
speed changes, youll see the bars on
the exposure indicator moving to
show that the exposure is changing.
Use the front sub-command

03
dial if your camera has one, or
on other models hold down the EV
compensation button and turn the
rear command dial.
As you change the shutter

speed and/or aperture, youll
see bars on either side of the exposure
indicators zero point showing
under- or over-exposure.
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04
INTRODUCTION
TRY A NEW MODE
Its important to learn that the exact choice of exposure mode isnt
crucial in many situations you can use any of the four PASM modes and
get the identical combination of shutter speed and aperture. Use the
exercise below to try a mode you havent used before!
Manual exposure is a good

option in the studio (above), or
when shooting a sequence
against a dark backdrop (right)
You might end up with the same

settings whichever mode you use,
but its worth trying different options
NIKOPEDIA
Dial M for Manual
NIKON SOFTWARE
Some seasoned photographers prefer to use Manual (M) mode. Many do

so out of habit, as this was the only option on the cameras they started
out with. However, being able to set the aperture and shutter speed
independently can have its advantages in certain situations where
you want to completely ignore the built-in meter or use the metered
reading for occasional guidance only. Even in Manual, the viewnder
display continues to provide an indication of what the meter thinks of
your settings! Manual is particularly useful with studio ash, where the
shutter speed and aperture are set for the subject and the ash output
is adjusted to give the right exposure. Manual is also useful in situations
where the background or subjects clothing may change between shots
but the lighting remains consistent.
effect, such as blurring movement
or panning with a moving subject.
In Manual (M) mode you set both
aperture and shutter speed we
look at occasions when this can
prove useful in the box above.
Last but not least is P, or Program.
This is an excellent fail-safe option
for those starting out with the PASM

modes. The camera sets aperture
and shutter speed for you but when
you want to set a specic shutter
speed or aperture you simply turn
the dial. Unlike with the Scene
modes, you retain full control over
all other camera settings.
Find something to take a close-up

of. Weve used a frog in our example,
but a favourite ornament from your
mantelpiece might be an easier
option for you.
Flexible Program
02 Select P and use
Zero the setting

When the bars are zeroed, the
exposure is indicated by the
cameras meter, but its up to you how
you interpret the reading. You can use
your own skill and judgement.
Compensate on the y
06 If your subject is very light or
dark, adjust the shutter speed or

aperture so the exposure indicator bars
move to the left or right of the centre.
the aperture
03 Use A mode and set

Repeat using Aperture Priority
mode again, using the rear
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change speed
04 Switch to S to
As you turn the command dial to

change the shutter speed, youll see
the aperture setting change at the
same time stop when it reaches
your lens maximum aperture.
in Manual
05 Choose settings
For your nal picture, switch to M
mode. Set the widest lens aperture,
then adjust the shutter speed until
the exposure indicator on the
viewnder or LCD is zeroed in at the
middle of the metering scale.
VIDEO GUIDES
Set the exposure mode dial to P. Use

the rear command dial to set the
widest aperture available with your
lens. Take a picture.
command dial so youre using the

widest aperture your lens allows.
ESSENTIAL KIT
subject
01 Choose a suitable
05
CAMERA SKILLS
How to understand shutter speed and aperture more

clearly, and open your eyes to new techniques
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CENTRE-WEIGHTED
CAMERA SKILLS
INTRODUCTION
NIKOPEDIA
SPOT
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Matrix metering works

well for off-centre
portraits, while
centre-weighted
excels for subjects in
the middle of the frame
Spot metering is good if the

background is a lot brighter or
darker than the subject
NIKON KNOW-HOW
MATRIX
WHAT ARE METERING MODES?

Getting to grips with the meter in your camera is the rst step to better exposures
Measuring the brightness of
the scene youre shooting is
a crucial part of getting the right
exposure for your pictures. In the
last few issues weve looked at
shutter speed, aperture and
exposure modes, but before these
can be set you need to measure the
brightness of the scene. This is
where the exposure meter comes in.
Your Nikon D-SLR has a built-in
meter, of course. But it isnt simply a
matter of taking one reading. The
brightness of the scene can vary
enormously across the picture
the sky will usually be much lighter

than the foreground, for example.
As such, an average reading is
needed. Arriving at the perfect value
isnt made easier by the fact that the
key area of your image will vary
according to your composition and
what you want to highlight. To allow
for this, your Nikon camera has not
one metering system but three.
Metering modes
The main metering mode, and the
one that your Nikon will be set to
when you take it out of the box, is
matrix. Its the only option youll get

in some exposure modes, and youll
have to switch to P, S, A or M to use
other metering choices.
Matrix is by far the most
sophisticated of the metering types.
The pattern it uses to assess a scene
breaks the image into a number of
zones. This results in a range of
readings that are then analysed
before an overall average exposure
is calculated. The latest cameras
feature 3D Color Matrix Metering II,
which takes colours and focus
distance into account, as well as the
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distribution of light. It looks at the

scene in an intelligent fashion, trying
to work out what sort of picture
youre taking by matching the data
up with an internal database of
30,000 scenes. It then relays its
suggested exposure to create an
appropriate shutter speed and
aperture combination.
Centre-weighted metering biases
the exposure towards the centre of
the frame. This doesnt take focusing
or distribution of light into account,
and just assumes that the subject is
in the middle. It works well for
METERING MODES
INTRODUCTION
MODES AT A GLANCE
Spot
3D Color Matrix
Centre-weighted
Average
The default metering

mode on Nikon D-SLRs measures
light distribution across the whole
frame, together with colour and
focus data. It then compares this to
an internal database of typical
photographic scenes to arrive at a
suitable exposure.
This mode measures the

light across the whole picture area,
but strongly biases the resulting
reading to the centre of the
viewnder. On more advanced
Nikon D-SLRs, you can change the
size of this central area, and hence
the overall bias.
This is a variation on the

centre-weighted mode thats only
available on Nikons pro D-SLRs. It
measures light evenly across the
whole frame, which makes it the
least sophisticated metering
system of all, but for experts it can
be the easiest to interpret.
This graph shows how spot metering

concentrates around the AF point
With matrix metering, the shape of

the graph changes with each scene
This graph is higher in the middle,

where its heavily weighted
The graph for average metering is

at, as all areas are treated equally
The small area around the AF point

gives an indication of the region
covered by spot metering
Your current focus point is one of the

criteria used by matrix metering to
work out the best exposure
The exposure is based mainly on the

central part of the image, though the
outer parts have an inuence too
The light across the whole frame is

measured as a single value. Its a
crude method but can be useful
NIKOPEDIA
Spot metering only

measures the intensity of light over
a small circular area around the
active AF point, so you need to pay
attention to where this is. The area
corresponds to roughly 1.5-2.5 per
cent of the frame, depending on
which Nikon D-SLR youre using.
CAMERA SKILLS
How each of the metering patterns works, and when to use them
NIKON SOFTWARE
CAMERA SETUP
ESSENTIAL KIT
HOW TO SWITCH METERING MODES

The way you change metering modes depends on the camera youre using
Information display
Metering mode icon
Mode choice
The location of the metering mode

control depends on the D-SLR
youre using. On the D800, its a dial
mounted around the AE-L/AF-L
button, while on the D7100 its a
button on top of the camera.
On beginner models such as D3000

series and D5000 series cameras,
you change the metering pattern
using the LCD interface. Press the i
button on the back of the camera to
activate the interface.
Now use the multi-selector to

highlight the metering mode icon in
the menu panel at the right side of
the screen. Its towards the bottom
of the list, underneath the AF mode
options. Click the OK button
You can now pick which metering

mode you want to use click the OK
button to conrm your choice. Back
on the information display, the icon
changes to show which metering
pattern youre using.
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VIDEO GUIDES
External controls
INTRODUCTION
NIKOPEDIA
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NIKON KNOW-HOW
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
CONTRAST CONTROL
How to deal with the shadows and highlights in your shots
Digital cameras can only register a
limited range of tones, and cant see
the full range of brightness that the
human eye can. This presents a
problem in high-contrast scenes
where you have dark shadows and
bright highlights when youre
photographing on a sunny day,
shooting towards the light or
capturing nightscapes, for example.
In these situations it might not
matter what metering mode youve
chosen youll lose detail from the
highlights or the shadows. Unless
you change your shot, the best
exposure needs to be a compromise,
and how you decide which areas you
want to preserve details in will
depend on which parts of the scene
are the most important. Shooting
outdoors, its generally a better idea
to ensure that the highlights arent
blown out. You can then rescue dark
shadows at the editing stage.
High-contrast scenes can mean theres no ideal exposure

either the sky is overexposed or the foreground is too
dark. But tools such as Active D-Lighting can help
most pictures, and its also easier to

predict when this metering mode
will get things wrong. You can then
anticipate when exposure
compensation will be necessary.
On higher-end Nikon D-SLRs you
can change the size of the area used
for centre-weighting, and some also
allow you to switch to average

metering, which gives equal weight
to all areas of the frame.
Spot metering is much simpler,
just taking a reading from a small
area surrounding the active focus
point and ignoring everything else in
the picture. Therefore, its the most
Active D-Lighting
Nikons Active D-Lighting feature is designed
to cope with high-contrast scenes when youre
using matrix metering. The camera will slightly
underexpose a scene (to preserve the highlights)
and lighten the shadows, providing a more
balanced result. Active D-Lighting is best used
when youre shooting JPEGs, or RAW les that
will be processed by Nikon software such as
Capture NX 2. If you open a NEF le shot with
Active D-Lighting in Photoshop or Lightroom, it
will just look underexposed.
PROS Results can look natural, and you can
adjust the strength on more advanced cameras.
CONS Because the exposure is automatically
adjusted, the results arent always predictable.
precise metering mode on your

camera but is also harder to use, as
you have to pick the spot you take
the reading from with care.
Error alert
Its important to realise that,
whatever metering mode you use,
all options will get the wrong result

in certain situations. The problem
stems from the way these metering
systems work. They measure the
light thats being reected by the
subject rather than taking an
incidental reading that records the
light falling on the subject.
STEP BY STEP USE AE LOCK TO CONTROL EXPOSURE

Use your cameras AE-L/AF-L button to save a meter reading and recompose the shot in tricky lighting conditions
Play with settings
Make a rst attempt
By default, the AE-L/AF-L

01
button locks both the
exposure and the focus. But you can
change the camera settings so that
it only locks the exposure.
First, frame your shot to

include only the areas you
want correctly exposed. Do this by
turning the camera or zooming in,
then holding down the button.
02
Choose an area
Rinse and repeat
Lets say we want to expose

03
for the stained glass windows.
Zoom in so they ll the frame and
hold down the AE-L/AF-L button.
Keep holding the AE-L/AF-L

button (youll see the AE-L
symbol in the viewnder) to reframe
and take a shot. The shot is too dark.
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04
METERING MODES
ON YOUR NIKON
SPOT THE DIFFERENCE
Options vary according to model

MODEL
MATRIX
CENTREWEIGHTED
AVERAGE?
SPOT
D3000
3D Color Matrix
420 pixels
8mm circle
No
2.5%
D3100
3D Color Matrix
420 pixels
8mm circle
No
2.5%
D3200
3D Color Matrix
420 pixels
8mm circle
No
2.5%
D3300
3D Color Matrix
420 pixels
8mm circle
No
2.5%
D5000
3D Color Matrix
420 pixels
8mm circle
No
2.5%
D5100
3D Color Matrix
420 pixels
8mm circle
No
2.5%
D5200
3D Color Matrix
2,016 pixels
8mm circle
No
2.5%
2,016 pixels
8mm circle
No
2.5%
3D Color Matrix
2,016 pixels
6, 8, 10 or
13mm circle
Yes
2.5%
D7100
3D Color Matrix
2,016 pixels
6. 8, 10 or
20mm circle
Yes
2.5%
D300s
3D Color Matrix
1,005 pixels
6, 8, 10 or
13mm circle
Yes
2.0%
D700
3D Color Matrix
1,005 pixels
8, 12, 15 or
20mm circle
Yes
1.5%
D800
3D Color Matrix
91,000
pixels
8, 12, 15 or
20mm circle
Yes
1.5%
D810
3D Color Matrix
91,000
pixels
8, 12, 15 or
20mm circle
Yes
1.5%
D4
3D Color Matrix
91,000
pixels
8, 12, 15 or
20mm circle
Yes
1.5%
D610
3D Color Matrix
2,016 pixels
6. 8, 10 or
20mm circle
Yes
1.5%
Df
3D Color Matrix
2,016 pixels
6. 8, 10 or
20mm circle
No
1.5%
Unfortunately, this reected reading

is skewed by the colour and
brightness of the subject itself.
Bright, white subjects reect more
light than dark ones. The averaging
system used by all three metering
modes assumes that the average
from the zone (or zones) it measures
is a midtone brightness the

18 per cent grey often referred to
by old-school photographers. For
this reason, youll often end up
needing to dial in some exposure
compensation when youve
photographed particularly light- or
dark-toned subjects.
Using the AE-L/AF-L button

again, we can reframe the
shot and get an exposure that brings
out the interior of the abbey.
06
02 Set the AF point
The rst option is to select

the AF point that corresponds to
the part of the picture you want to
be exposed correctly. Remember
that the AF point is where the spot
reading will be taken from. Now
take the shot again but with the AF
point over a different area, like the
background. The exposure will be
very different!
03 Use AE-L/AF-L
Sometimes there wont be

an AF point in the right position for
the area you want to take a spot
reading from. Use the AE-L/AF-L
Spot metering comes into its own

when your subject is much brighter
or darker than its background
button to lock the exposure, as

shown in the step-by-step below.
Place the AF point over your
subject, then reframe to shoot.
matrix metering
04 Compare with
Do either of these attempts at spot

metering give better or worse
exposure results? Now shoot the
same high-contrast scene using
matrix metering and see how the
exposures differ again.
Fair compensation
You shouldnt always expect to
nd a metering mode that will
give you an ideal exposure for
a picture. Its often essential
to use exposure compensation
to override the meter reading
and get the result you want.
Youll need compensation
most frequently when your
shot doesnt conform to the
mid-grey average that all four
of the matrix metering modes
With all-white subjects youll need
assume. An obvious example
to use exposure compensation to
would be a scene thats made
get the right light balance
up mostly of light tones, such
as a snowy landscape or the bulbs of garlic on a white backdrop,
as shown here. You might need to dial in one or two stops (+1 or
+2EV) of compensation. With subjects that are dark, negative
compensation will be needed.
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VIDEO GUIDES
Shoot again
For a different result, try

05
framing the scene to include
the walls of the church alone and not
the stained-glass windows.
This picture of a lizard against a

dark background is a good example,
because theres a big brightness
difference. The camera doesnt
know which area needs to be
correctly exposed only you do!
There are two solutions
ESSENTIAL KIT
Choose another area
contrast subject
01 Choose a high-
NIKON SOFTWARE
3D Color Matrix
D7000
Spot metering mode is great for precise exposure readings, and can
be a godsend when youre shooting in tricky light. But the skill lies in
deciding which part of the scene to take the reading from in the rst
place. Practice makes perfect, so try this exercise and see how you do
NIKOPEDIA
D5300
To get the advantages of spot metering you need to be

able to pinpoint an exact area of a scene
CAMERA SKILLS
METERING
SENSOR
INTRODUCTION
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The Automatic White Balance setting works well

most of the time, but its restricted operating range
means it often gives orangey results with indoor
lighting and when shooting oodlit buildings
CAMERA SKILLS
INTRODUCTION
NIKOPEDIA
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
AUTO WHITE BALANCE
MANUAL WHITE BALANCE
NIKON KNOW-HOW
WHAT IS WHITE BALANCE?

Get perfect colour rendition from your Nikon D-SLR in different lighting conditions
White balance, or WB, is
necessary because light
doesnt just vary in brightness, but
also in colour. Each light source
has its own individual colour
temperature, which varies from
red to blue as you move through the
visible spectrum. Human vision is
very good at compensating for this,
so a sheet of white paper will look
white whether its viewed in daylight
or by candlelight. Its the job of the
cameras White Balance system to
do the same thing and compensate
for the colour differences in the
lighting, so the colours in a scene

look exactly as we would expect.
Take control of colour

Your Nikon D-SLR has a wide range
of options for controlling the
White Balance to suit the colour
temperature of the light in the
scene, including Automatic White
Balance (AWB), which will cleverly
look after all this for you. However,
as with all your cameras automatic
settings, the Auto White Balance
isnt foolproof, and it may undercompensate for extreme conditions
because it can only operate within a

restricted range of temperatures.
Colour temperature is measured
on the Kelvin (K) scale, and Nikons
AWB system can only adjust
between 3500K and 8000K. It will
struggle to get a picture that doesnt
look orange when youre shooting
in your front room at night, for
example, as the colour temperature
of domestic lighting will be lower. It
may also struggle just before dawn,
when the light is blue-toned and has
a higher colour temperature than
the Auto setting can cope with. Your
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D-SLR, therefore, has a number of

manual White Balance options that
enable you to take full control. The
easiest to use are the presets. These
are settings designed specically
for different light sources, such as
ash, incandescent light (domestic
light bulbs), sunny days, cloudy days
or deep shade. They are useful for
getting consistent colours within a
sequence of pictures, or for tricking
the camera into giving you slightly
warmer- or colder-looking results.
For more control over colour
temperature settings, you need
MEASURING WHITE BALANCE
INTRODUCTION
THE KELVIN SCALE EXPLAINED

Candle
1000K
AWB
Presets
WB shift
3500-8000K
3000-8000K
2750-10,500K
2500-10,000K
The White Balance Shift

option extends the colour
temperature range of
the presets
The option to set White

Balance with an exact
Kelvin (K) number is only
available on some Nikons
Auto White Balance (AWB)

only operates accurately
in a restricted range of
colour temperatures
Sunrise
or sunset
2000K
Incandescent
3000K
Tungsten
CAMERA SKILLS
The colour temperature range of your Nikon depends on the White Balance mode used
3000K
The higher the wattage
of light bulb, the higher
the colour temperature
Photoood
4000K
NIKOPEDIA
White uorescent
3700K
5000K
Direct sunlight
5200K
Average
midday
sunlight
Flash 5400K
6000K
Cloudy
6000K
Overcast sky
7000K
NIKON SOFTWARE
Hazy sky
Shade 8000K
8000K
The light reected by the
atmosphere, known as
skylight, is blue in colour
9000K
Your Nikons White

Balance button gives fast
access to the colour
temperature presets
Clear blue sky
10,000K
CAMERA SETUP
There are two ways to choose the White Balance setting, depending on the model youre using
Preset options
White Balance button
Display icons
On simpler D-SLRs such as D3000

series and D5000 series cameras,
press the i button on the bottom
left to activate the information
display. The White Balance option is
near the top of the list on the right.
Click OK to display the list of

White Balance presets. Auto is the
default, but you can scroll down
through the list to choose one of
the manual presets instead. Click
OK to conrm your choice.
More advanced models, such as

the D90, D7000 and up, have a WB
(White Balance) button on the back
of the camera. You hold this down,
then turn the main command dial to
change the White Balance setting.
The White Balance setting is

displayed as a small icon on the LCD
status panel on top of the camera.
The icon changes as you turn the
command dial, and you simply stop
when you reach the one you want.
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VIDEO GUIDES
Information display
ESSENTIAL KIT
HOW TO USE THE WHITE BALANCE PRESETS
INTRODUCTION
NIKOPEDIA
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NIKON KNOW-HOW
CAMERA SKILLS
RAW POWER
Shoot RAW and you can choose the White Balance later
Software options
All RAW editing programs enable
you to alter White Balance settings
as you process the le. Nikons View
NX 2 does the job and comes free
with your Nikon D-SLR.
Shift the balance
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Preset menu
A dropdown menu enables you to
set the White Balance preset. By
default, it displays the recorded
value (the camera setting), but you
can override this.
Manual adjustments
Underneath are sliders for
ne adjustments to the colour
temperature setting and the option
to change the tint, an additional
red-green adjustment often built
into the White Balance settings.
to use another manual option.

Although not found on all Nikon
models, the K setting enables you to
set a specic colour temperature.
This is great for precise control
because you can dial in any setting
from 2500 to 10,000K.
Of greater use, and available on all
Nikon D-SLRs, is the preset manual
White Balance setting (see below).
You can use Nikons View NX 2 to choose the White

Balance setting you want to apply to your RAW les
This is set by taking a measurement

from a test target, such as a sheet
of white paper. Just ensure this lls
the frame and is in the same lighting
youll be using for your photos.
Why bother with RAW?

If you set the le format to RAW, you
can easily alter the White Balance
after youve taken the picture, and
When you select a White Balance preset via the

menus, you can press the right button on the
multi-selector to access a set of controls for
ne-tuning the colour. You press left and right
on the multi-selector to shift the amber-blue
(A-B) balance, which is equivalent to the colour
temperature setting, or press up and down to
adjust the green-magenta (G-M) balance, which
is equivalent to the tint setting. The camera
saves any adjustments youve made, and the
preset is then marked with an asterisk, both
in the menu and on the status display (if the
camera has one) to show its been changed.
This enables you to make very precise colour
adjustments at the time of shooting, though in
practice, its easier to shoot RAW les and make
these adjustments later on a computer.
without any image degradation.

Even so, its still good practice
to choose an appropriate White
Balance setting when you shoot
it saves work later, and it ensures
that the pictures displayed on
your Nikons LCD reect the White
Balance as set on the camera.
Another reason is that the White
Balance presets in third-party
software, such as Adobe Camera

Raw, may not exactly match the
White Balance settings on your
camera. The only way to be sure is to
set the White Balance on the camera
and use the As Shot option in ACR.
If youre using Nikon View NX 2 or
Capture NX 2 to convert your RAW
les, however, the White Balance
presets will match perfectly.
STEP BY STEP SET YOUR OWN CUSTOM WHITE BALANCE

By shooting a neutral-toned target, you can match the White Balance setting to the lighting conditions youre shooting in
Preset Manual option
Overwrite existing data
Shoot your target
More advanced Nikons
On the D3300 and other

01
Nikon models that have an
information display, choose Preset
manual at the bottom of the White
balance menu and press OK.
These models can only store a

02
single custom White Balance
preset, so youll now be prompted to
conrm that you want to replace the
existing custom setting.
Now take a picture of a

03
neutral subject (or target),
such as a blank sheet of paper or a
plain background. The camera then
saves your new custom preset.
On more advanced Nikon

D-SLRs with WB buttons on
the back, you hold down the button
until PrE ashes in the bottom
corner of the status panel.
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04
WHITE BALANCE OPTIONS

ON YOUR NIKON
Options vary according to model
You can use your Nikons White Balance presets

creatively to enhance the mood of your pictures
AUTO OPTIONS
NUMBER
OF
WHITE BALANCE
BRACKETING
WHITE BALANCE TIPS
USER
PRESETS
KELVIN (K)
VALUES
D3000
Auto
12
No
No
D3100
Auto
12
No
No
D3200
Auto
12
No
No
D3300
Auto
Auto
No
No
D5000
Auto
12
3 shots, 1 increment
No
D5100
Auto
12
No
No
12
Auto
12
No
D7000
Auto 1 (Normal) Auto

2 (Keep warm lighting)
12
250010,000K
D7100
Auto
12
2 to 5 shots,
increments of 1, 2 or 3
250010,000K
D300s
Auto
12
3, 5, 7 or 9 shots, 3
increments
250010,000K
D610

12
2 to 3 shots,
250010,000K
D700
Auto
12
3, 5, 7 or 9 shots, 3
increments
250010,000K
D800 +
D800E

12
3, 5, 7 or 9 shots, 3
increments
250010,000K
D810

12
3, 5, 7 or 9 shots, 3
increments
250010,000K
D4

12
3, 5, 7 or 9 shots, 3
increments
250010,000K
Df

12
2 to 3 shots,
250010,000K
The wrong white balance preset can

sometimes deliver the best pictures
01 Cloudy for warmth
Find a suitable outdoor

subject lit with normal daylight on a
bright day. Now set the White
Balance to Cloudy. This will make
the images tones warmer, which
works particularly well when youre
shooting portraits or architecture.
02 Shade for sunsets
Sunsets often look less

impressive in photographs than you
remembered when taking them.
Cheating with White Balance can
make dusk and dawn look more
golden. Set the WB to Shade, or if
your camera allows, set a colour

temperature of 10,000K.
03 The moonlit look
Give your landscapes a

moonlit look with a blue tone. Set
the WB to Tungsten, or set a value
of 2500K. Alternatively, use the
Custom White Balance option but
rather than using a piece of white
paper, use a piece of orange or red
paper for your test card. This will
trick your camera into giving you a
blue-toned picture. This works well
for ghostly Halloween portraits too.
Preset slots
Now take the test shot of your

On these cameras, you can
06
05
White Balance target. Again, in
save up to ve different
our example, were using a plain grey
presets in slots d-0 to d-4. New
background. If the shot is suitable, the settings are saved to d-0 but you
status display shows Good.
can then copy them to the others.
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VIDEO GUIDES
Shoot your target
ESSENTIAL KIT
Mixed lighting
Back in the days of lm, colour
temperature was adjusted using
correction lters. Filters are
still used to correct colour in
digital photography when White
Balance adjustments arent
enough. This happens if youre
shooting with two different light
sources. The White Balance cant be
adjusted for, say, ash and ambient
light, and if you adjust it to match
the ash, youll get a yellow-orange
background. By putting an orange
lter (known as a gel) over the front
of the ash, the colour of both light sources can be made similar,
so you can choose a White Balance setting that matches both.
NIKON SOFTWARE
Auto
Tungsten
Shade
NIKOPEDIA
D5200
D5300
Its not always necessary to get your White Balance spot on at the
time of shooting, and not just because you can tweak colours at the
editing stage. Getting the White Balance wrong can often actually help
your photography. Here are three great White Balance tricks to try
CAMERA SKILLS
NIKON
MODEL
INTRODUCTION
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ORIGINAL IMAGE
CAMERA SKILLS
INTRODUCTION
NIKOPEDIA
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
INDIVIDUAL PIXELS
A digital image is made up of millions of

individual pixels, and each of these is the
result of some extremely clever digital
processing inside your Nikon D-SLR
NIKON KNOW-HOW
DIGITAL PROCESSING EXPLAINED

Your D-SLR might look like a lm camera, but inside is the equivalent of a digital processing lab
Your digital camera does a
lot more work to turn what
you see in the viewnder into a
nished image than you probably
give it credit for. Understanding a
little of what goes on deep inside
your Nikons circuitry will help
you understand some of the many
options that you have to play with.
Perhaps the most important thing
to appreciate is that your image
is only converted into digital form
well after it has left the sensor.
The sensor itself is an analogue
component, creating an old-
fashioned electrical signal that can

be tweaked by electronic circuitry
to increase the ISO, for instance,
amplifying the signal in much the
same way as you crank up the
volume on your radio.
How sensors work

The sensor is made up of millions of
light-sensitive units, often referred
to as pixels, but at this stage more
accurately called photosites. These
can measure as little as 0.004mm
across (around 1/16th of the width
of a single human hair). Each one
creates its own electrical signal in

proportion to the brightness of the
part of the image that it covers.
But these individual photosites
cant see colour only luminance.
To produce a full-colour image, each
photosite has a miniature coloured
lter, either red, green or blue. A
pixel with a green lter will only
see colours that have some green
light in them. But as practically all
colours can be made by mixing red,
green and blue light together, this
still provides valuable information.
The clever bit is how the pixels work
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together to assign accurate colours

to each pixel in the nal image.
The green-ltered photosite can
effectively see red light by using
information from neighbouring redand blue-ltered photosites. Known
as demosaicing, this interpolation
process makes an informed guess
about the colour of each and every
square that makes up the image.
JPEGs and RAW les

With JPEG pictures, each photosite
can register 8 bits of data, which
equates to 256 different shades of
FROM A TO D
Image storage
Buffer
Digital image
processing
CAMERA SKILLS
TURNING LIGHT INTO

A DIGITAL FILE
Analogue/
digital converter
How your Nikon D-SLR converts

captured light into image pixels
INTRODUCTION
Analogue
electronics
Image sensor
Mosaic lter
Lens
The A/D converter turns the
analogue electrical signal into
digital data, using the same
binary language as computers
Light reected off the

subject is captured and
focused by the lens
Subject
The colour lter array
NIKOPEDIA
Nikon D-SLRs use Nikons

Expeed image processing
systems to help crunch the
huge amount of digital
data created for every
image you shoot
NIKON SOFTWARE
B G
The photosites on the sensor only
R G
B G
R G
measure the brightness of the light, not
R
G B
G R
its colour. So that colour information
G B
G B
R
is gathered, each photosite has a red,
G
G R
G R
green or blue lter. These are arranged in
G R
a mosaic known as a Bayer pattern, after the bofn that
came up with it. He found that by using twice as many green lters as
blue or red, you got a sharper image. A demosaicing process turns this
raw data into the full-colour grid of pixels in the recorded images.
CAMERA SETUP
Your camera offers a wealth of options that enable you to change the amount of processing used
Shoot RAW
12-bit or 14-bit
Compression options
By default, your Nikon D-SLR shoots

ready-to-use JPEG les in one of
three quality settings: Fine, Normal
and Basic. The Fine option is visible
here on this D3100s Shooting menu
under Image Quality.
Nikon D-SLRs can also shoot RAW

or NEF les. RAW les need to
be converted on a computer, but
they give you more control over
the appearance of the image, and
potentially better quality.
Simpler Nikon D-SLRs save RAW

les using 12 bits of data per pixel.
This is a big improvement on the
8 bits used for JPEGs, but some
models, such as the D610, offer a 14bit NEF format for higher quality.
Some Nikons offer different

compression options for NEF les,
including compressed, lossless
compressed or uncompressed
NEFs. Compression reduces the
le size of the saved image.
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VIDEO GUIDES
Save as JPEGs
ESSENTIAL KIT
HOW MUCH PROCESSING DO YOU WANT?
INTRODUCTION
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NIKOPEDIA
NIKON KNOW-HOW
For rapid-re photography, understanding the buffer is vital

A camera needs a great deal of computing
power to record images quickly, and this varies
from one D-SLR to another. But it also needs
somewhere to store them temporarily as it
writes the processed images to the memory
card. This temporary memory is the buffer.
The amount of processing power will affect
how many frames you can shoot in a second,
but the cameras buffer controls how many
you can shoot before it cant cope with any

more data. Depending on your camera, your
image quality settings and memory card
speed, a camera may only take six RAW shots
before it refuses to take any more pictures,
taking a break until it has cleared space in the
buffer. But if you switch to JPEG, youll be able
to keep shooting for much longer. See our table
on the right for details on different D-SLRs.
NIKOPEDIA
CAMERA SKILLS
BUFFER BOTTLENECK
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
01
02
brightness. This might not sound like

much, but when its combined with
the full colour information generated
by demosaicing, this generates an
amazing 16.7 million possible colours.
RAW (NEF) images offer even more
colour detail. Nikon NEF les store
12 bits of data, equivalent to 4,096
separate shades rather than JPEGs
256. Advanced Nikon models can
04
03
also save 14-bit NEF les, equivalent

to 16,384 brightness levels that can
be recorded for each pixel.
Take control
Regular JPEG images will still show
a full range of colour and tones,
but RAW les have the potential
for a wider brightness range and
smoother tonal gradations. Whether
Subjects such as nely woven fabrics (above),

or lines of railings in the distance are more
likely to suffer from moir patterns
Mastering moir
The sensor in your Nikon D-SLR
not only has a lter in front of
each of the pixels, but it also
has a lter covering the whole sensor area. This
low-pass lter softens the image projected
by the lens. Without this, the grid-like pattern
of photosites on the sensor would create
interference patterns when photographing
subjects that have ne, grid-like patterns, such
as nely woven fabrics. The softening effect
is counteracted by sharpening processes in
the camera or later on a computer. The Nikon
D800E is a special variant of the D800 where the
anti-aliasing feature is removed. This produces
slightly better resolution, but it may be
necessary to remove moir effects when editing,
using software such as Nikon Capture NX 2.
you choose to record in JPEG or

RAW format also affects the way a
picture is processed, and the Picture
Control you use on your Nikon is a
case in point. Changing the Picture
Control is a bit like changing the
type of lm in the old days. Each
Picture Control gives a different
colour balance, saturation and
contrast. Vivid gives you rich, vibrant
colours, while Monochrome shoots

pictures in black and white.
If you shoot in RAW, the Picture
Control isnt applied to the RAW
data, but simply stored alongside
it, so you can ignore it completely.
However, as youll nd out in this
months homework assignment,
even those shooting in RAW should
take Picture Controls seriously.
STEP BY STEP EXPLORE NIKON PICTURE CONTROLS

Take complete control of your images colours and tones with this powerful set of in-camera processing options
Set the Picture Controls
Fine-tune the effect
Go black and white
Make manual adjustments
Youll nd the Picture

01
Controls on the Shooting
menu. Standard is the everyday
default, but use Neutral for subtler
colours or Vivid for a stronger effect.
If you highlight a Picture

02
Control on the menu and
press the right button on the
multi-selector, you can use these
sliders to adjust the effect.
The Monochrome option is

03
especially powerful. You can
simulate different black and white
lters, such as red and yellow, and
toning effects such as Sepia.
If you do adjust the Picture

Controls in this way, theyre
marked with an asterisk in the
Shooting menu as a visual reminder
that theyve been changed.
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04
YOUR NIKONS PROCESSING

POWER REVEALED
CONTINUOUS
SHOOTING
SPEEDS
BUFFER
CAPACITY
(RAW)
BUFFER
CAPACITY
(JPEG FINE)
PROCESSOR
D700
2008
Expeed
12-bit, 14-bit
5fps
31-95
100
D3000
2009
Expeed
12-bit
3fps
100
D5000
2009
Expeed
12-bit
4fps
63
D300S
2009
Expeed
12-bit, 14-bit
7fps
17-45
44
D3100
2010
Expeed 2
12-bit
3fps
13
100
D7000
2010
Expeed 2
12-bit, 14-bit
6fps
10-15
31
D5100
2011
Expeed 2
14-bit
4fps
16
100
D3200
2012
Expeed 3
12-bit
4fps
18
80
D800
2012
Expeed 3
12-bit, 14-bit
4fps
16-25
100
D4
2012
Expeed 3
12-bit, 14-bit
10fps
69-98
170
D5200
2012
Expeed 3
14-bit
5fps
35
D7100
2013
Expeed 3
12-bit, 14-bit
7fps
8-12
73
D610
2013
Expeed 3
12-bit, 14-bit
6fps
34-55
100
Df
2013
Expeed 3
12-bit, 14-bit
5.5fps
29-37
100
D5300
2013
Expeed 4
12-bit, 14-bit
5fps
6-13
100
D3300
2014
Expeed 4
12-bit
5fps
28
100
D810
2014
Expeed 4
12-bit, 14-bit
5fps
28-47
100
Advanced Nikon D-SLRs that offer a choice of 12-bit or 14-bit NEF les also
offer different compression settings. Uncompressed NEFs take up the most
space on a memory card, but you can save lossless compressed NEF les
that are the same quality, but smaller. Compressed les are the smallest,
Its important to understand the effect of the Picture Controls and

how to get the best from them. If youre shooting JPEGs, you could just
use the Standard setting and edit your pictures later in a program such
as Photoshop Elements, but the quality may not be quite as good as if
youd chosen a more appropriate Picture Control to start with.
Choosing a suitable Picture Control doesnt just save you editing time
later, either it will also help you work towards the result youre aiming
for much more easily. This applies especially to black and white
photography, because if you dont use the Monochrome option, it can be
hard to imagine how the colours in a picture will translate into shades of
grey and this applies even if youre shooting in RAW. To get to grips with
the different effects, experiment with the Picture Controls below
01 Neutral colours
The Neutral setting is

designed to produce true-tolife colours and tones, whereas
the Standard setting includes
a degree of enhancement. If
youre not sure what effect
youre looking for, this provides
a reasonable starting point.
02 Vivid colours
But then see what

happens if you switch to Vivid
mode instead. It suits colourful
subjects such as this buttery,
where the colours really start
to pop although the higher
contrast means you may need
to watch the exposure.
Vivid colours may be too blunt

an approach for other kinds of
subjects. Try Landscape mode
for scenic shots, or Portrait
mode for those occasions
where you want to preserve
smooth and subtle skin tones.
ESSENTIAL KIT
Landscape
03 Portrait and
NIKON SOFTWARE
YEAR
Finding the best Picture Control for your subject and

conditions can turn a good photo into a brilliant one
NIKOPEDIA
MODEL
NEF (RAW)
FORMATS
GET CREATIVE WITH

PICTURE CONTROLS
CAMERA SKILLS
Find out your Nikons shooting capacity

and RAW formats with our handy chart
INTRODUCTION
04 Monochrome
Use Adobe Camera Raw
If you shoot JPEGs, the Picture

05
Control is applied permanently
to the image. But if you shoot RAW,
you can open the image in View NX 2
or Capture NX 2 and alter it later.
Be aware that with non-Nikon

software, such as Adobe
Camera Raw, the Picture Control
option will be ignored and youll have
to make any adjustments manually.
06
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VIDEO GUIDES
Explore the RAW options
Make sure you try

the Monochrome mode
too, especially its extended
customisation options. For
capturing truly dramatic skies,
try using the red lter option
and increasing the contrast for
spectacular effects.
INTRODUCTION
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VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
NIKOPEDIA
Scenes with a high brightness range pose

problems for D-SLRs. Once you understand
dynamic range, you can work out the
optimum exposure and whether you need
to resort to multi-exposure HDR techniques
NIKON KNOW-HOW
CONTRAST AND DYNAMIC RANGE

Can your camera capture all the tones in a scene? We show you how to nd out...
If youve ever taken a shot
in sunlight, or any other
situation where the brightness
range is high, the chances are your
camera will have lost some detail
in the darkest parts of the picture,
the brightest parts or both.
The problem isnt to do with
exposure. Its because the
difference between the brightest
and darkest areas is so great that
you cant nd a single exposure that
can capture them both.
Digital camera sensors can
capture a wide range of brightness
values, but there is a limit. This is

the cameras dynamic range, and if
youre faced with a scene that has a
wider dynamic range (or brightness
range) than the cameras, you may
well have a problem.
How do you check?

Your cameras histogram display
is a good way to check if theres a
problem. If the histogram is chopped
off, or clipped at the left-hand end
of the scale, it means that some
of the darkest parts of the picture
havent recorded and will appear
as a solid black. If the histogram is

chopped of at the right-hand end,
it means the brightest parts of the
picture have been overexposed and
will reproduce as a solid white.
Quite often, you can adjust the
exposure, reshoot and solve the
problem. But scenes with a very wide
brightness range also produce a very
wide histogram and sometimes the
histogram is so wide that its clipped
at one end or the other, no matter
how you adjust the exposure.
The illustration, opposite, shows
this graphically. The range of tones
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on an overcast day is quite narrow,

producing a narrow histogram. This
wont pose any exposure problems.
But the extreme brightness range
of a sunny day may produce a
histogram so wide that it wont t
within the cameras dynamic range
no matter what you do.
Whats the answer?

The histogram shows you the range
of tones in the whole picture, but not
necessarily the ones which youre
most interested in! Sometimes its
okay to have dense areas of black.
A MATTER OF CONTRAST
INTRODUCTION
HISTOGRAMS AND DYNAMIC RANGE

High contrast
In a low-contrast scene, theres not much difference between the

brightest and darkest parts of the picture. This shows up in the histogram,
which ts easily within the dynamic range of the camera sensor.
With a high-contrast scene, theres a huge difference between the

brightest and darkest parts. This produces a much wider histogram which
could quite easily be wider than the cameras own dynamic range.
Exposure for low-contrast scenes
Exposure for high-contrast scenes
Because the histogram is narrow, theres plenty of exposure latitude. If

you change the exposure, the histogram will shift left or right, but you
could make quite large adjustments before any clipping might occur.
If the brightness range is too much for your camera and you dont want to
use HDR techniques, youll have to choose an exposure that captures the
highlights but sacrices the shadows, or vice versa.
NIKOPEDIA
Low contrast
CAMERA SKILLS
Exposure and dynamic range are not the same, but they are connected
Wide histogram
wont t
Cameras dynamic range
The cameras histogram

shows the missing tones
bunched up at the ends
Cameras dynamic range
NIKON SOFTWARE
Narrow histogram
ts easily
CAMERA SETUP
ESSENTIAL KIT
SCENES THAT CAUSE PROBLEMS

Worried about dynamic range? Here are some warning signs
Bright skies
Interiors/exteriors
Light sources in the frame
If youre shooting into the sun or any

other bright light source, the side of
the subject facing the camera will
be in shadow therell be a huge
brightness difference between your
subject and the background.
Overexposed skies spoil landscape

shots. On overcast days, the sky can
be many stops (EV) brighter than
the scene youre photographing. A
graduated lter will bring the sky
within the cameras dynamic range.
The difference between a windowlit interior and a daylight scene

outside will almost certainly be too
great for a single exposure. To show
any detail through the windows,
youll need to use HDR techniques.
If you include light sources within

the frame, the light source will be
too bright to record at an exposure
that renders the rest of the scene
normally. Just accept that this area
will be overexposed.
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VIDEO GUIDES
Backlighting
INTRODUCTION
NIKOPEDIA
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NIKON KNOW-HOW
CAMERA SKILLS
RAW RESPONSE
01
RAW les capture a slightly wider dynamic range than JPEGs

02
Nikon ViewNX 2 and Capture NX2 have exposure compensation tools

which you can use to recover some extra highlight detail in RAW les,
but Adobe Camera Raw goes further, and version 7 (supplied with
Photoshop CS6) has new shadow and highlight tools.
03
01 Exposure
NIKOPEDIA
Dragging this slider to the left or right will reveal extra

highlight or shadow detail hidden in the RAW le, though reducing the
exposure to recover highlights will have a knock-on effect on the
shadow detail so its not always the best solution.
02 Highlights
Dragging this slider to the left recovers highlight details

without having an impact on the midtones and shadows in the image.
Its the best solution for shots where the overall exposure is ne and
its just the highlights that are missing.
03 Shadows
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
If most of the picture is ne but the shadows are a dense

black, push this slider to the right. It reveals extra shadow detail hidden
in the RAW le without unduly affecting the rest of the image.
Its ne, for example, in black and

white images.
So by all means use the histogram
as a guide, but consider checking
key areas of the picture yourself.
You can do this using your cameras
spot metering mode to check the
brightest and darkest key areas in
the picture to see if theres a single
exposure which can capture them
both. Youll nd instructions for how

to do this at the end of this article.
Alternatively, you can shoot RAW
les. These capture up to 1EV of
extra shadow and highlight detail
that you can extract later in your
RAW conversion software. You wont
see any sign of this on the camera
histogram, though, because your
Nikon will display a processed JPEG
preview of your image for display on

the LCD, even if youve shot in the
RAW format.
You still have to get the exposure
exactly right, even if you shoot RAW,
but the slight extra leeway might be
all you need to capture extremely
dark and bright tones in the image.
Sometimes, though, even
shooting RAW les wont be enough,
and this is where you enter the world

of HDR imaging
HDR techniques
HDR stands for high dynamic
range photography. Its a two-stage
process where you shoot a series of
exposures of the same scene and
then combine them using software
to reproduce a wider range of tones
STEP BY STEP HOW TO MEASURE THE BRIGHTNESS RANGE

To get the right exposure, you need to know the brightness range youre dealing with
Switch to manual
Choose an aperture
Swap to spot
In M mode you can note down

01
the exposure readings and
choose how you interpet them,
rather than relying on the cameras
ideas about correct exposure.
If you select a specic

02
aperture, you only need to
change one variable the shutter
speed to work out the best
exposure. Lets go for f/8.
Now select the spot metering

mode. This takes an exposure
reading from a small area around
the selected focus point only so
switch to single-point AF mode.
03
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Measure the brightest area

Position the AF point over the
brightest area (but not the sun)
and adjust shutter speed to centre
the exposure bar, here its 1/500sec.
04
How N-Photo magazine assesses SLRs in the lab
MEASURING
DYNAMIC RANGE
You dont have to guess! You can use your measurements
and this table to work out the best exposure
Digital cameras can cope with up to two stops (2EV) of over or
underexposure in a particular area before detail starts to disappear, and
you can use this to work out whether the brightness range of the scene
is too great for the camera, and what the best exposure settings will be.
If youve followed our walkthrough, you can look up the two shutter
speeds youve recorded in this table to see what to do next (each step up
or down on this ladder is a third of a stop). The arrows alongside are for
illustration your shutter speeds will be different.
SHUTTER SPEED
1 sec
1/1.3sec
1/1.6sec
1/2sec
1/2.5sec
1/3sec
1/4sec
difference
01 Less than 4EV

Youve got some leeway! You
need to pick a shutter speed
somewhere in the middle, but
as long as the shadows arent
more than 2EV underexposed
and the highlights arent more
than 2EV overexposed, you can
afford to bias the exposure
towards one or the other.
NIKOPEDIA
It is possible to test the dynamic range of sensors scientically. When

N-Photo magazine (www.nphotomag.com) reviews Nikon SLR cameras, it
measures their dynamic range in controlled laboratory conditions using
equipment from DxO Labs, and you see the results quoted as EV values in
our camera reviews. The tests show, for example, that the new D800 and
D4 sensors have a higher dynamic range than the older sensor in the D700.
However, although these dynamic range gures are high (up to 13EV for
the D800), they measure single brightness values, whereas for everyday
photography, where you want to see details and textures in the shadows and
highlights, our suggested 4EV exposure window is still an effective guide.
CAMERA SKILLS
DYNAMIC RANGE TESTING
INTRODUCTION
1/5sec
than the camera could capture with

a single exposure.
There are two approaches you
can take. Theres the realistic one,
where youre trying to manage a
high brightness range, but want the
photo to look normal, and theres
the artistic approach, where youre
creating an obvious HDR effect
with darkened highlights, detailed
shadow areas, and strong outlines.

HDR software can do both.
Camera makers, meanwhile, are
starting to incorporate HDR modes
in their cameras the Nikon D800
and D5300 both have HDR modes
where the camera shoots a series
of exposures and combines them
in-camera. These are designed more
for realism than artistic effect.
1/8sec
1/10sec
1/13sec
1/15sec
1/20sec
01
02 03
1/25sec
1/30sec
1/40sec
1/60sec
1/80sec
1/100sec
1/125sec
1/160sec
1/200sec
1/250sec
1/320sec
1/400sec
Check them on the chart
1/500sec
Now do the same for the

darkest area of the picture, and
again, make a note of the shutter
speed this time its 1/30sec.
If the two readings are no

more than 4EV apart (check
the table opposite), choose a shutter
speed right in the middle 1/125sec.
1/640sec
05
06
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1/800sec
1/1000sec
difference
03 More than 4EV

You have three choices here:
(a) You can peg the exposure
2EV above/below your
measured values so that the
highlights or shadows are just
recorded, but the rest of the
image has to take its chances.
(b) You can modify the lighting,
using ll-ash to bring out
shadowed subjects in the
foreground, for example, or
a graduated lter to control
excessively bright skies.
(c) You can shoot a series of
exposures to capture the
whole range of tones, then
combine them into a single
shot using HDR software.
VIDEO GUIDES
Measure the darkest area
Youre right on the limit of

what the camera can record,
and you need to set a shutter
speed exactly in the middle of
the two youve measured. The
shadows and highlights will be
recorded just but it would
be a good idea to shoot RAW
les as extra insurance.
ESSENTIAL KIT
1/50sec
difference
02 Exactly 4EV
NIKON SOFTWARE
1/6sec
INTRODUCTION
NIKOPEDIA
CAMERA SKILLS
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Cl i c k t h e
l in k b e l ow t o
down l oa d t h e
st a rt f il e s f or
als
t u t ori
t h e Page
116
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
Page 104
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http://bit.ly/PMZ37_images
Page 120
Nikon software
NIKOPEDIA
Introducing Capture NX 2 ............................. 104

Take control of your editing .........................106
Go fast with quick xes ...................................108
Play with exposure .............................................110
Fix colour with a click .......................................112
Camera and lens correction .........................114
Retouch dull portraits ......................................116
Work on your RAW shots .................................118
Selections and masks .....................................120
Convert to monochrome ................................122
Improve composition .......................................124
CAMERA SKILLS
is
W h e n y ou se e t h l in k
the
b u t t on ,l oo k f or a n y in g
t o t h e a c c om p
id e
Nik on v id e o gu
INTRODUCTION
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NIKON SOFTWARE
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ESSENTIAL KIT
VIDEO GUIDES
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INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
NIKON SOFTWARE
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CAPTURE NX 2
INTRODUCING
CAPTURE NX 2
There are lots of image editing programs,
but Nikons own may well be one of the best
At about $140, Nikons
Capture NX 2 is pricier than
other powerful photo-editors such
as Adobe Photoshop Elements.
Despite this, it has a loyal following
among professional and hobbyist
photographers alike.
Capture NX 2 is perfectly tailored
to suit the needs of Nikon users, with
features designed to be compatible
with those on your camera. If you
prefer to shoot in RAW, the software
will help you process high-quality
NEF les more effectively than a
third-party program and it can
handle TIFF and JPEG formats too.
The colour- and tone-tweaking
tools enable you to perform quick
xes. But you can also summon up
more powerful commands to alter
contrast with precision, or target
and tweak colours and tones in
specic areas using the versatile U
Point controls. You can also
overcome lens problems such as
colour fringing and vignetting, as
well as banish red-eye. There are

also ways to sharpen up soft-focus
shots to reveal ne details, and you
can retouch shots to remove
unsightly sensor spots or banish
blemishes from portraits. Even basic
features such as the Crop tool go the
extra mile by giving you a rule of
thirds grid that helps you improve
compositions with ease.
Capture NX 2 also enables you to
solve the problem of image
management. Thanks to rating
options, you can lter photos to nd
the best shots (or ones marked for
rejection), and even add keywords to
locate specic pictures.
Your training course

Over the following pages, well show
you how to master Capture NX 2s
editing and organisational tools,
using detailed step-by-step tutorials
and video lessons. But for now, lets
examine some of the programs
highlights
EXIF and metadata

Discover what settings were used to
capture your shot, and organise your
collection using keywords and ratings.
STEP BY STEP FIVE POWER TOOLS

Our guide to some of the best reasons for using Nikons image-editing program
RAW processing for NEFs
Clever Control Points
Automatic retouching
Different cameras use different methods to

01
process NEF les. Some programs struggle
to open NEF les from newer Nikons, but Capture
NX 2 works with all of the brands models and
makes the most of your NEF les RAW data.
With Nikons U Point system, you can pop a

02
Control Point on a specic area and use a
series of sliders to adjust a variety of properties.
This enables you to target and tweak problems
quickly and effectively.
With the Auto Retouch brush, you click on a

sensor spot in a patch of sky, or on a
blemish, and replace it with clear sky, or smooth
skin. This helps clean up imperfections in a similar
way to Photoshops Spot Healing brush.
03
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Toolbar
INTRODUCTION
NIKON SOFTWARE
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Its possible to access handy xing
tools from here, such as the Crop,
Rotate and Straighten options.
You can use a variety of tools to

change a shots colours and tones.
Experiment with different results by
turning a particular feature on or off.
CAMERA SKILLS
Layer-based editing
Selective edits
By placing a Color Control Point on a

subjects lips, for example, you can
boost colour without oversaturating
similar hues in the shot.
This graph helps you diagnose

exposure problems instantly. You
can then use the powerful Tone
Curves command to give shadows
and highlights healthier levels.
NIKON SOFTWARE
Histogram
Color Control Point
NIKOPEDIA
After using the Selection Control Point

tool to restrict changes to areas such
as the subjects eyes, you can view the
editable areas as a mask.
FREE SOFTWARE
Dont want to fork

out for Capture?
ViewNX 2 is free
Selection Control Point
The Quick Fix tab gives easy access to tools

04
that enable you to sort exposure problems
and boost saturation. You can also recover
blown-out highlight or shadow detail using the
Highlight and Shadow Protection sliders.
You can make tonal or colour edits with the

Adjust commands, then use the Selection
Control Point to limit the tweaks to a specic
area. This is faster than creating masks, although
you can do that with Capture NX 2 too.
05
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VIDEO GUIDES
Time for a Quick Fix
Your Nikon ships with a disc of free software

that includes the useful ViewNX 2. This is a
less complex cousin of Capture NX 2 that
enables you to organise your images and x
colour and exposure problems. It will even let
you trim movies shot on your Nikon. ViewNX 2
lacks Capture NX 2s innovative and powerful
Control Points but will still enable you to
spruce up pictures and share them. If you cant
locate your Nikon disc, download ViewNX 2 for
free from www.nikonimglib.com/nvnx. You can
also get a 60-day trial version of Capture NX 2
from www.nikonimglib.com/cnx2.
ESSENTIAL KIT
VIEWNX 2
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
NIKON SOFTWARE
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CAPTURE NX 2
TAKE CONTROL
OF YOUR EDITING
How to use Control Points to target and tweak
individual image areas with precision
In our start image, the sky Before
and the white buildings
highlights are overexposed,
and theyre also lacking detail.
After
Meanwhile, the red roof and the
green trees colours look a little
desaturated. The darkest shadows
are washed out and the shot suffers
Make accurate and
from a slightly cold blue cast.
specic changes to
You could try using the basic
tone and colour
tone and colour-tweaking sliders in
a variety of avours. You can darken
Capture NX 2s Quick Fix palette to
the shots blackest shadows in a
create more vibrant hues, provide a
click by sampling an area with the
wider contrast and claw back colour
Black Control Point. Flash-induced
and detail in overexposed areas.
However, for much greater precision, red-eye can be removed in a couple
of clicks using the Red-Eye Control
use Control Points.
Point. Meanwhile, the powerful
Complete control
Selection Control Point enables you
Control Points enable you to click on
to make a wide range of adjustments
a specic colour or tone to sample
including sharpening and noise
it. You can then use a Control
reduction in a specic area.
Points sliders to adjust a wide
By following the step-by-step
range of attributes for the sampled
guide below, you can explore these
colour, such as hue, saturation and
amazing tools and discover their
brightness. Control Points come in
image-editing powers.
Enhance colours
Adjust exposure
You can add as many Color Control

Points as you like. Here, weve used
one to sample the red roof, and
boosted its saturation to get more
vibrant reds and oranges.
You can drag a Color Control Points

Brightness (B) slider to the left to
reduce the exposure of a sampled
area. This restores blue to the skys
blown-out white highlights.
STEP BY STEP MAKE SELECTIVE ADJUSTMENTS

Use Capture NX 2s precision tools to carefully tweak and enhance particular areas of an image
Remove colour cast
Improve contrast
Restore highlight detail
Open the ControlPoints_before.nef le

01
on your disc. The shots colours are a little
cold, so grab the Neutral Control Point from the
toolbar and click on the slightly blue bridge. This
instantly warms up the sampled area.
The images darkest shadows could be

02
blacker, especially under the bridge arches.
Grab the Black Control Point and click on the
darkest part of the bridge. The tool darkens the
sampled area and any similar tones in the shot.
Grab the Color Control Point and click on

the sky to sample it. Drag the top slider so
its range circle includes some sky and the white
buildings. Drag the Brightness slider (B) to -42 and
the Saturation (S) slider to +100 for a bluer sky.
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03
GOING FURTHER
Toolbar
Click here to select the type of
Control Point you want to apply
(such as this Color Control Point)
and then click on the image to
sample a particular colour or tone.
Edit and enhance your images with

more powerful Control Point options
Adjust range
You can increase the range of a
Control Point by dragging the top
slider. This changes the diameter
of the circular selection marquee
around each Control Point.

You can get the Selection Control
Point to edit any aspect of a sampled
area. This one adjusts the contrast
and brightness of the white house to
stop it turning blue.
Helpful histograms
The Black, White and Neutral

Control Points allow you to change a
range of tones. This Neutral Control
Point warms up the cold bridge to
produce natural hues.
As you change colour and tone using

various Control Points, you can keep
an eye on the shots overall spread
of tones by using the graph in this
window.
By using the simple sliders, you can make a huge

range of tone and colour changes to your images
NIKON SOFTWARE
One-click x
NIKOPEDIA
By default, each Colour Control Point

presents you with three sliders Brightness
(B), Contrast (C) and Saturation (S). Below
these sliders is a little y-out icon that, when
clicked, gives you access to more advanced
adjustments, such as changing the mix of
the red, green and blue colour channels that
produce all the colours in the shot. Theres also
a handy Warmth (W) slider that enables you to
remove colour casts from the sampled area.
Weve just scratched the surface of what
Control Points can do, and well encounter
them again as we explore other aspects of the
Capture NX 2 toolset in future issues.
CAMERA SKILLS
ADVANCED
ADJUSTMENTS
INTRODUCTION
NIKON SOFTWARE
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ESSENTIAL KIT
Show selection
Click a new Color Control Point on the red

04
roof. A Color Control Point tab will appear in
the Adjust panel. Drag the Saturation (S) slider to
+55. Use another Control Point to create more
vibrant green leaves with a Saturation of +38.
To see which pixels will be edited by a

05
Control Point, go to its eld in the Adjust
panel and click Show Selection. The whitest pixels
will be changed the most and the greys a little,
while the black ones remain untouched.
Click the New Step icon in the Adjust panel.

From the Select Adjustment dropdown, hit
Light > Contrast/Brightness. With the Selection
Control Point, click the slightly blue house. In the
panel, set Contrast to +31 and Brightness to +4.
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06
VIDEO GUIDES
Selective colour adjustments
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
NIKON SOFTWARE
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CAPTURE NX 2
GO FAST WITH
QUICK FIXES
Discover the fast way to solve common
picture problems in Nikons own edit suite
Nikons Capture NX 2
Before
software offers many
different ways to target and
tweak problematic colours and
After
tones. However, sophisticated tools
such as Control Points can take a
while to implement. Therefore,
well look at faster ways to
We can tweak the
overcome common problems using
mid-tones to get
the Quick Fix panel. With this, you
more contrast
can spend less time processing
metering mode may struggle to
pictures and more time actually
prioritise which areas are important.
shooting them!
You can therefore end up losing
Show what you see
shadow detail or blowing out the
The Quick Fix panel groups together
highlights. In our main start image,
the most useful photo-xing tools
were losing a lot of mid-tone detail,
so that you can deal with common
so well show you how to use the
issues quickly. This covers problems
Quick Fix panels sliders to make a
such as washed-out colours and
selective tonal adjustment.
incorrectly exposed shots. When
Well also show you how to
faced with high-contrast scenes like
use Quick Fix to diagnose and x
the one in our main image, the
tonal problems using the handy
human eye is very good at discerning
histogram. Then we'll start boosting
detail in both the shadows and the
desaturated colours to create more
highlights. However, your Nikons
interest and impact.
01 Quick Fix
Click on the triangle to

toggle open the Quick Fix panel. This
gives you access to useful tools so
you can overcome common tonal
and colour problems fast.
02 Levels
A well-exposed histogram
would stretch from the left to the
right. Our original shot lacks strong
highlights, so we drag the brightness
slider to the left to x this.
STEP BY STEP MAKE QUICK FIXES

Tweak common colour and tonal problems for better-looking shots
Lighten the shadows
Darken the highlights
Check exposure
Open ShadowHighlight_before.jpg. Go to
01
the Quick Fix section of the Develop pane.
The shaded areas are lacking in detail. Drag the
Shadow Protection slider to 44. This brightens the
shadows and mid-tones by just the right amount.
The highlights are a little clipped. To reveal

02
missing details, drag the Highlight
Protection slider up to 52. This shows up delicate
textures, such as the brickwork, that couldnt be
seen in the unedited version of the photo.
Open UnderExposed.jpg. Drag Contrast to

20 for a wider tonal range. The histogram
doesnt stretch to the far right, so drag the
triangular slider left until it's under the graph.
This makes the highlights much brighter.
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03
GOING FURTHER
This slider enables you to

make selective tonal adjustments.
Pull it to the right to claw back
missing detail from a shot that has
overexposed highlights.
01
In an underexposed photo,
the shadows might lack detail. By
increasing this sliders value, you
can brighten up the shadows
without altering the correctly
exposed highlights.
02
04
07 Saturation
06
When you reveal detail in the

shadows, you can get desaturated
colours. Boosting the Saturation
slider gives more vibrant-looking
colours and a more attractive print.
07
By increasing the value of the

Contrast slider, you can quickly x
an image that suffers from at
tones, by darkening the shadows and
brightening the highlights in one go.
Histograms might look technical, but know what

to look for and they can be extremely helpful
NIKON SOFTWARE
04 Contrast
NIKOPEDIA
05
An unedited tone curve

appears as a straight diagonal line.
By placing Control Points on the line,
you can drag it into a curve. This is a
good way to tweak a shots tones.
Histograms help you x the spread of tones

in a shot. A well-exposed image has pixels
stretching from the left (shadows), to the
middle (mid-tones), to the right (highlights).
You can use the Quick Fix graph to make
tones healthier. In step three (below) we
adjust underexposed highlights to make them
brighter. You can also drag the black shadow
slider right to darken overexposed shadows.
You can lighten the mid-tones by moving the
grey slider left, or move it right to darken them.
06 Shadow Protection
03
03 Curves
Play with numbers in order to get the

perfect balance of tones
CAMERA SKILLS
HELPFUL
HISTOGRAMS
05 Highlight Protection
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ESSENTIAL KIT
Boost the colours
Be clever with curves
Boosting contrast can cause clipped

04
(underexposed) shadows that print with no
detail. Use Shift+S (or View > Show Lost Shadows);
clipped shadows show as patches of colour. Put
Shadow Protection up to 9 to reduce clipping.
When you reveal detail by tweaking tones,

05
the colours can look washed out. Its always
worth enhancing the hues by pushing the
Saturation slider right (in this case, to 36). We now
have a more vibrant shot with little effort.
Open Colour_before.jpg. Set Saturation to

58. To get darker shadows, click near the
bottom-left of the Curve panels diagonal to place
a point. Drag it down so that Input is 32 and Output
is 19. This darkens shadows and adds contrast.
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2014
VIDEO GUIDES
Reduce clipping
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
NIKON SOFTWARE
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CAPTURE NX 2
PLAY WITH
EXPOSURE
After
How Capture NX 2 lets you tackle typical

brightness and contrast problems selectively
With high-contrast scenes,
your cameras exposure
metering mode might struggle to
reveal detail in key areas. For
example, if you shoot someone
against a bright background, their
face might be in shadow. This is such
a common issue that your Nikon has
a handy D-Lighting command in its
Retouch menu. It's designed to
brighten shadows without
overexposing brighter highlights.
However, it can also add unwanted
noise to a shot. Here, well show you
how to brighten a backlit subjects
shadows more effectively, using
Capture NX 2s more advanced
version of the D-Lighting tool.
without blowing out a correctly

exposed sky.
When brightening a JPEGs
darker areas, you run the risk of
revealing unsightly picture noise or
compression artefacts. By editing a
RAW (NEF) le, you have more colour
and tonal information to work with,
leading to better results than youd
get with a compressed JPEG. With
this in mind, weve included a couple
of RAW les for you to work with.
Before
Lowering the tone

Well also show you how to use
the powerful Levels & Curves
command to make selective tonal
adjustments. This provides an
effective way to reveal lost shadow
detail in underexposed landscapes
01 New Step
The left-hand side of the

image is ne, but the girl's
face was in shadow
Different photos need

different tools. You can combine a
variety of image-adjustment
commands by clicking the New Step
button in the Adjust pane.
After
STEP BY STEP ADJUSTING EXPOSURE

How to make selective tonal adjustments and bring back lost detail in your shots
Choose an adjustment
Adjust the highlights
Brighten the midtones
Go to File > Open Image and open Under_

01
before.NEF. Click the New Step button to
create a new adjustment. In the Adjust pane, click
the Select Adjustment dropdown menu. Choose
Light and then Levels & Curves.
The grey histogram shows the spread of

02
tones throughout the shot. There are plenty
of strong shadows at the left, but the highlights
peter off to the right. Drag the white highlight
slider to 205 to make the highlights brighter.
To reveal more midtone detail, drag the

grey slider left to 1.73. These adjustments
create a new curve that bulges upwards to lighten
the midtones. You can click the curve to add
Control Points, then drag them to adjust tones.
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03
04 RGB
02
GOING FURTHER
BRACKETING
05 Curves
Combine practical technique with

software for the very best results
An unedited images curve is

a straight line from the bottom-left
shadows to the top-right highlights.
This curves upward bulge boosts
the brightness of the midtones.
04
05
06 Color Booster
03
06
When you reveal details in

underexposed areas they can lack
colour. You can x this by sliding the
Color Boosters Level slider to
create more vibrant hues.
07 Version
01
02 Levels & Curves
This enables you to adjust

tones with sliders. Alternatively,
click to place Control Points on a
curve drag them up to lighten
tones, or down to darken them.
03 Target tones
The grey midtone slider

lightens underexposed landscapes
without blowing out highlights. The
white slider brightens highlights
without messing up midtones.
Choose the blue sky of the image on the left and

you can lighten up the grass in Capture NX
NIKON SOFTWARE
To compare edited shots and

start images, click this menu and
toggle between Current and
Original. Or choose View > Compare
Images > Compare with Original.
NIKOPEDIA
Nikons Capture NX 2 software provides

a variety of ways to overcome exposurerelated problems, but theres no substitute
for capturing an effectively exposed image in
the rst place. This will keep ugly artefacts
such as noise down to a minimum. For more
detail on the bracketing technique, see the
Nikon Know-how section in Nikopedia. As we
explain there, you get several versions of the
scene, across which the image is both overand underexposed by specied increments.
You can review the different shots and decide
which reveals the most tonal detail, perfecting
the image in Capture NX 2 if required.
CAMERA SKILLS
07
The Levels & Curves

command makes the same tweaks
to the Red, Green and Blue channels,
but you can target individual ones
using this dropdown menu.
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Sort out the shadows
Reduce the noise
The hues in the brightened areas are

04
washed out here. Click New Step and go to
Select Adjustment > Color > Color Booster. Tick
Protect skin tones to stop skin looking orange.
Drag the Level slider to 61 for more vibrance.
Open Backlit_before.NEF. Click New Step

05
and go to Select Adjustment > Light >
D-Lighting. Tick Better Quality (HQ) and then set
Shadow Adjustment to 64, Highlight Adjustment
to 22 and Color Boost to 74.
Use the Birds Eye pane to zoom in to 100%.

Youll notice noise in the lightened areas.
Click New Step. Go to Select Adjustment > Noise
Reduction. Set Intensity to 11%, Sharpen to 4 and
Method to Better Quality.
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2014
VIDEO GUIDES
Boost the colours
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
NIKON SOFTWARE
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CAPTURE NX 2
FIX COLOUR
WITH A CLICK
How to correct common white balance
and colour saturation problems with ease
Your Nikons Picture Control
presets can dramatically
alter the colours in a photo.
However, if you only shoot in JPEG
format, the changes will be
permanent and youll have fewer
colour correction tools to work with
in Capture NX 2. By shooting in
uncompressed RAW (NEF) format
you can use Capture to experiment
with different colour and saturation
settings at your leisure, knowing
that the shots original tones will
always be available.
Of course, you can tweak the
colours of JPEGs too, but NEFs give
better-quality results. Plus, you get
more colour correction tools, such
as the Camera Settings panel.
After
07
temperature, or you may have used

an incorrect White Balance setting.
A shots colours could also be too
weak, or even too vibrant, depending
on the in-camera Picture Control
setting you chose.
Here, well show you how to use
Captures tools and techniques to
counteract colour casts with
precision and achieve true colours.
Youll also learn to x saturation for
more attractive-looking shots.
Before
01 Camera Settings
Second chances
You might need to edit a shots
colours in Capture for several
reasons. For starters, an image
could suffer from a colour cast due
to changes in a locations colour
Weve brought life to this

scene with a brighter sky
and richer tones
If you shoot in RAW (NEF) you

have access to this panels powerful
colour correction tools. These are
similar to those in your Nikon, but
make it easier to get better results.
After
STEP BY STEP MAKE COLOUR TWEAKS

Whether your image is dark, dreary, warm or blue, theres a x available in Capture NX 2
Fix White Balance
Set Grey Point
Tweak Picture Controls
Open Cool_before.NEF. Go to Develop and

01
toggle open Camera Settings. Click the New
WB dropdown and select Daylight. Set the second
dropdown to Cloudy. The new Daylight setting
creates warmer, more natural-looking colours.
Alternatively, set the New WB dropdown

02
menu to Recorded Value and the White
Balance dropdown to Set Gray Point. Press Start
and click the eyedropper over an area thats too
blue. This will warm up the entire shot.
Were using a RAW le, so we can change

the Picture Control settings to boost colour
and contrast. Set Non-Picture Control to Picture
Control. Set the Picture Control dropdown to Vivid
for stronger colours and contrast.
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03
04 Fine-tune
01
GOING FURTHER
COLOUR
TEMPERATURE
05 Color Temperature
02
03
04
05
The Fine Adjustment slider

lets you adjust Color Temperature
using a Kelvin (K) scale. A shot
captured on a sunny day at noon
should have a temperature of
between 5000 and 5400K.
How can a hue be warm or cold?
06 Picture Control
Your Nikons Picture Control

menu has a variety of settings that
affect saturation. Shoot in RAW and
you can choose a different Picture
Control setting, such as Vivid, later.
06
07 Color Control Point
02 Set Gray Point
Do this and you can click an

area that should be white or grey. If
its tinted blue, Capture will warm it
up to a neutral white. This produces
tint-free hues in the rest of the shot.
03 New White Balance
This shot was captured using

an Incandescent White Balance. You
can change the White Balance
settings to produce more accurate
colours and banish colour casts.
Got the White

Balance wrong
in-camera? Dont
panic Capture
NX 2 lets you
make changes
later, too
NIKON SOFTWARE
Our overexposed skys blue

colour was a little washed out, so we
popped a Color Control Point onto a
section of blue. We were then able to
drag the S (Saturation) slider right to
selectively enhance the hue.
NIKOPEDIA
To generalise, daylight has a cold colour

temperature, while indoor light has a warmer
one. Your cameras White Balance setting
is designed to keep whites looking white in
any lighting setup. For example, what would
happen if you took an outdoors shot with an
Incandescent White Balance? The setting
cools down warm, orange indoor light sources,
so it will make the cool daylight look very blue.
If you use an outdoor White Balance setting
such as Cloudy when shooting indoors, youll
get garish orange colours, as you can see in
step 04 below. Leave your cameras setting on
Auto and you should get accurate results.
CAMERA SKILLS
Different weather conditions

give different colour temperatures.
You can select the most appropriate
White Balance setting for the
scenario here.
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ESSENTIAL KIT
Correct light levels
Boost the colours
Open Warm_before.NEF. This indoor shot

04
was captured with a Cloudy White Balance,
so looks too warm. In Camera Settings, choose
Set Color Temperature. Set the New WB menu to
Incandescent. This creates less garish oranges.
This image is underexposed. To brighten it

05
up, click New Step. Click Select Adjustment
and choose Light > Levels & Curves. Drag the
curves white highlights slider left to 131. The shot
now has more natural colours.
Open Desaturate_before.NEF. To give this

shot more impact, click New Step > Select >
Adjustment > Color > Color Booster. Set Level to
26. Tick Opacity and toggle it open. Set Blending
Mode to Overlay for a stronger contrast.
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2014
VIDEO GUIDES
Cool things down
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
NIKON SOFTWARE
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CAPTURE NX 2
CAMERA & LENS

CORRECTIONS
Find out how to remove artefacts and
distortions so images look more true to life
What you see with the naked
eye isnt always what you
get in a photo. For example, when
you shoot with a wide-angle lens the
edges of the frame can become
distorted, with horizontal and
vertical lines looking curved. This
barrel distortion is especially
noticeable with architecture.
Cheaper lenses can also add
colour-related artefacts to subjects.
When faced with a high-contrast
edge such as a white swan against a
dark-blue lake, you might nd
fringes of purple clinging to the edge
of the bird. This ugly and distracting
chromatic aberration is caused by
the lens inability to focus different
wavelengths of light onto the same
spot on your Nikons sensor.
If you're using a camera-mounted
ash, light can bounce off your
subjects retina and cause glowing
red-eye. In pre-digital days this type
of unsightly side effect would see
the print adorned by a Quality
Control sticker when sent back from

the developer.
Straight and narrow

Here, well show you how to use
Capture NX 2 to x lens distortion
and level out curved edges. Youll
also learn how to clobber chromatic
aberration and cure a bad case of
red-eye. Plus, we reveal how to
remove distracting spots caused by
dust on your Nikons sensor.
Before
01 Auto Distortion
This shot looks much better

with straighter ground and
dampened barrel distortion
This panel can analyse a

shots metadata to discover which
lens was used to take the photo and
then automatically counteract
barrel or pin-cushion distortion.
After
STEP BY STEP CORRECT ARTEFACTS

How to combat barrel distortion, remove red-eye and smooth out sensor spots in Capture
View full size
Fix fringing
Clean up spots
Open fringe_start.jpg. Grab the Zoom tool

01
and right-click to get the pop-up menu. Set
View to 100%. Hold the spacebar to select the
Hand tool, and drag to view the swans front. Note
the purple fringe around the edge of the bird.
In the Adjust panel, click New Step. Click

02
Select Adjustment and go to Correct >
Lateral Color Aberration. To remove the purple
fringe, drag the Red-Cyan slider to 49. Tackle blue
or yellow fringes with the slider underneath.
Hold the spacebar and drag to view the

top-right of the frame. Youll see a
distracting smudge caused by dust on the sensor.
To remove it, click Auto Retouch. Set Size to 44
pixels. Scribble over the sensor spot to 'clean' it.
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03
04 Distortion Control
GOING FURTHER
DISTORTION
05 Straighten
When shooting handheld you

can end up capturing tilted horizons.
The Straighten tool enables you to
crop and rotate the shot in one easy
operation.
01
02
03
Lines not looking as straight in shots

as they do to your eye? No problem
06 White edges
When you rotate a shot to

straighten horizons, you can create
white patches around the frame
edges. The Straighten tool can crop
these out automatically.
04
07 Toolbar
05
This contains handy

correction aids such as the
Straighten tool. It also boasts a
Red-Eye Control Point that does a
more effective job than the Auto
Red-Eye correction command.
06
You can get rid of red-eye

with ease by switching this option to
Automatic. This can be a faster way
to remove red-eye from group shots,
compared with xing them manually.
03 Intensity
In some situations, less light

enters the edge of the frame,
underexposing the corners. You can
compensate for this vignetting by
dragging this slider to the right.
You can x
distortion by
moving this
slider go right
for barrel and
left to tackle
pin-cushion
NIKON SOFTWARE
02 Auto Red-Eye
NIKOPEDIA
Your photos can suffer from a variety of

different distortions. A barrel effect causes
the edges of the frame to bulge outwards it
really does look as though youve wrapped the
photo around a barrel! Conversely, pin-cushion
distortion causes edges to bulge inwards. The
Distortion Control commands Correction
slider enables you to counteract both types
manually. When you view a tall subject from a
low angle, its vertical lines tend to converge
towards the top of the frame. This is called
perspective (or keystone) distortion, which
NX 2 cant counteract easily. However, the
effect does help emphasise a buildings
height, so isnt necessarily a problem. If youre
shooting skyscrapers, say, it can look great.
CAMERA SKILLS
When Auto Distortion fails

you can ne-tune things using this
slider. Drag it to the right to remove
barrel distortion, or to the left to
tackle pin-cushion distortion.
07
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ESSENTIAL KIT
Level the land
Remove red-eye
Open Distort_start.NEF. Toggle open

04
Camera & Lens Corrections in the Develop
pane. Turn the Auto Distortion dropdown from Off
to Automatic. Capture will read the metadata and
compensate for any barrel distortion.
The horizon still curves up at the edges.

05
Click New Step. Choose Correct > Distortion
Control. Drag the Correction slider to 19. Grab
Straighten. Draw a line that follows the tilted
horizon. This will crop and rotate the shot.
Open red_eye_start.jpg. In Camera & Lens

Corrections, select Red-Eye Control Point.
Click a pupil. Drag the Control Points slider so
that it covers the pupil. Use a new Control Point to
cure the other eye.
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06
2014
VIDEO GUIDES
Remove distortion
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
NIKON SOFTWARE
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CAPTURE NX 2
RETOUCH DULL
PORTRAITS
Find out how to remove marks and lines to
give people younger-looking complexions
Some people frown upon the
retouching of portraits to
make celebrities look taller,
slimmer or younger. Yet were often
happy to tweak our own appearance
by getting our hair cut, using
moisturiser or dabbing concealer
over a stubborn spot.
The trick to appropriate and
successful digital retouching is to
keep the edits subtle and get the
subject to look their best without
fundamentally altering their
character or appearance. Well show
you how to use Capture NX 2s Auto
Retouch Brush to remove spots and
blemishes in a few clicks, and wipe
away distracting hairs that stray
over someones face.
04
we tend to look at them rst. In our

start image, the whites of the girls
eyes look a little underexposed and
grey, so we need to brighten them up
a tad without changing the shots
overall exposure.
Well show you how to use the
powerful Selection Brush to limit a
tonal adjustment to the white of an
eye. Then well change the intensity
of the adjustment using differing
Opacity values.
Before
01 Auto Retouch Brush
The eyes have it

Youll also learn how to overcome
lighting problems to produce more
attering portraits. For example, a
subjects eyes are one of the most
important aspects in a portrait, as
This handy retouching tool

samples clear patches of skin,
adjacent to problem areas, and
transplants them over unwanted
spots and blemishes.
The differences between

these shots are very subtle
theres no need to overdo it
After
STEP BY STEP WORK ON PORTRAITS

How to smooth out spots, brighten tired eyes and tidy up yaway hairs
Select Auto Retouch
Remove blemishes
Cut out stray hairs
Go to File > Open Image and browse to

01
retouch_before.jpg. Zoom in to view the
face at 100%. Click the Auto Retouch Brush icon in
the toolbar (or press R to bring it up). Set the Size
to 30px.
Place the cursor over a spot or freckle and

02
click once. For larger areas, such as this
girls make-up star, click a few times. If the tool
chooses inappropriate pixels (an eyelash, for
example), choose Edit > Undo and try again.
Press { a few times to shrink the Auto

Retouch Brush tip to about 16px. Drag the
tool over an unwanted hair, which will show up as
a red streak. Let go of the cursor. You might need
to dab the cursor over the area a few times.
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03
04 Overlay
05
01
GOING FURTHER
05 Opacity
MASKS
If you want to produce a

more subtle adjustment with the
Selection Brush, simply reduce the
Opacity using the dedicated slider in
the Options bar.
Not sure where to apply your tonal

changes? A colour map can help
06 Mask and overlay
02
If you try the Selection

Brushs green overlay but nd it too
distracting, you can switch it off
here. You can also view the selected
area as a greyscale mask.
07
06
Use the Size slider at the top

of the screen to change the Auto
Retouch Brushs tip size. You can
then remove large blemishes or
delicate spots with dabs or strokes.
To see what difference a

particular adjustment is making to
your portrait, tick the box next to
Select Adjustment to turn the
change off and on.
03 Selection Brush
This powerful tool enables

you to select a specic area by
painting on it. You can then apply
colour or tonal adjustments to the
region youve selected.
Go to the Levels
& Curves panel
to make the
handy greyscale
mask visible
you just need to
tick Show mask
NIKON SOFTWARE
02 Brush size
07 Before and after
NIKOPEDIA
When you use the Adjustment Brush on part

of an image, it makes a selection. When you
apply a tool such as Levels to this chosen area,
you can display the region as a greyscale mask.
Black areas of the mask stop Levels having an
effect, whereas white areas show where the
tool will work. If you set the Adjustment Brush
to a 50% Opacity, youll see grey strokes on the
mask. This makes the Levels adjustment more
subtle in these areas.
CAMERA SKILLS
The Selection Brush gives

you the option of displaying a green
overlay as you paint. This enables
you to see precisely which areas will
be affected by your changes.
03
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ESSENTIAL KIT
Lighten the midtones
Finishing touches
Click the Selection Brush in the toolbar. Set

04
Size to 16px and Opacity to 47. In the Edit
List panel a new Select Adjustment will appear.
Click the face icon and tick Show overlay. Spray
over the whites of the eyes to select them.
In the Adjust panel, click the Levels &

05
Curves dropdown. Under the histogram,
drag the grey midtone slider to 1.32. This lightens
midtones of selected areas and brightens the eye
whites. Dont lighten them too much.
Put the Selection Brushs Opacity up to 77%

and spray the teeth to lighten them. Tick
Opacity, below the Levels & Curves graph. Reduce
Opacity to 89% to tone down the strength of the
tweak and make the edit less obvious.
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2014
VIDEO GUIDES
Select the eyes
INTRODUCTION
CAMERA SKILLS
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CAPTURE NX 2
WORK ON YOUR
RAW SHOTS
Capture NX 2 is perfect for getting the most
out of your Nikons NEF-format RAW les
When you shoot in NEF
format, you create an
uncompressed RAW le. This gives
you a more complete story about a
scenes colours and tones than youd
get from the shorthand version of an
image described as a compressed
JPEG. The lack of detail thats held
in a JPEG means youre more likely
to introduce artefacts when you edit
the photo in Capture NX 2. These
issues might include posterised
colours and extra noise.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
Editing options
As well as providing you with
better-quality results, the NEF
format also gives you more editing
choice. For instance, when you apply
Picture Control settings to a JPEG
in-camera, it can be tricky to adjust
the shots colours and tones later
on. If you shoot in RAW, you can
make tweaks from the comfort of
your computer, experimenting with
different looks. Capture NX 2 is also
designed to read all the extra

information in a NEF le, so you can
make edits and try out various White
Balance settings. Its as though
youre still on location with your
D-SLR in hand!
In addition to these handy
features, when you open a RAW le
in Capture NX 2, you gain access to
an extra Camera Settings panel that
enables you to get more from your
shots. Lets see how it works
Before
01 Camera Settings
This collection of handy

tools is only available when you edit
NEF (RAW) les. It enables you to
experiment with alternative settings
to those used on location.
The shot above has the wrong

White Balance, which is easy
to correct if you shoot in RAW
After
STEP BY STEP GET MORE FROM RAW FILES

Discover how to adjust camera settings, correct colours and reveal missing details
Open Camera Settings
Change White Balance
Switch tabs

01
whitebalance_before.NEF. Toggle open the
Camera Settings tab in the Edit List. The shot is
too cold, as it was taken with Incandescent White
Balance, designed for shooting in articial light.
In the New WB area, click the rst dropdown

02
menu. Pick the Daylight White Balance
setting. This will reveal the correct colours. You
can boost contrast and tweak hues by setting the
Picture Control dropdown to Landscape.
As well as using the RAW-only Camera

Settings tab, you can also edit NEF les
with Capture NX 2s standard editing tools. Open
DLighting_before.NEF. Here, the backlit subjects
lack detail in the shadows.
Watch the video http://bit.ly/1atieT0
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03
GOING FURTHER
04 Picture Control
06 Advanced
04
05
07 Intensity
07
This feature enables you to

reduce picture noise, although youll
need to view the shot at 100 per
cent magnication to see it working
effectively.
After choosing a more

appropriate White Balance setting,
tweak the colour of the image by
dragging this slider. Go left to cool
the shot down, or right to warm it up.
The Advanced
options enable
you to tweak
Sharpening,
Contrast and
other settings
NIKON SOFTWARE
03 Fine Adjustment
NIKOPEDIA
06
Toggle this option open to

take more control over properties
such as Saturation and Sharpness
(see right for more details).
CAMERA SKILLS
The Picture Control option in the Camera

Settings panel enables you to experiment
with a variety of colours and tones quickly.
However, youll probably nd it useful to tweak
a few extra properties using the Advanced
sliders. If you use the Birds Eye panel to zoom
in to 100 per cent, you can use the Sharpening
ruler to give your print more punch. You can
also tweak properties such as Contrast, and
boost Saturation if needed. You can even save
the adjusted settings as a customised Picture
Control, applying it to other shots in the future.
For darker shadows and

a more striking contrast, set the
second Picture Control dropdown
menu to Landscape.
03
We shot our start image with

an incorrect Incandescent White
Balance, so the image looks too cold.
You can restore the photos true
colours using the Daylight setting.
If youre not totally happy with your

edited NEFs, try these extra options
and save your changes as a preset
05 Extra options
02
02 New WB
ADVANCED
CONTROLS
You can set your camera

to edit colours and tones
automatically, using its Picture
Control system. Alternatively,
override the in-camera settings
using this menu.
01
INTRODUCTION
NIKON SOFTWARE
WorldMags.net
ESSENTIAL KIT
Restore the highlights
Boost exposure
Click on New Step at the bottom of the Edit

04
List panel. In the Adjust panel, select Light
> D-Lighting. Tick Better Quality (HQ). Move the
Shadow Adjustment slider to 64 to brighten the
shadows. Now drag Color Boost to 69.
Go to View > Show Lost Highlights. Blown05

out areas will appear as coloured patches.
Set the D-Lightings Highlight Adjustment slider
to 49. Press Shift+H to turn off clipping warnings.
The sky should now have some colour and detail.
Open exposure_before.NEF. Open the Quick

Fix menu. The graphs highlights end before
the right side, indicating underexposure. Drag
Exposure Compensation to 0.68 and then pop
Saturation up to 13 for more vibrant colours.
WorldMags.net
06
2014
VIDEO GUIDES
Even out lighting
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
NIKON SOFTWARE
WorldMags.net
CAPTURE NX 2
SELECTIONS
AND MASKS
Find out how to make and modify selections
so that you can tweak tones with precision
In our start image we shot
straight into the sun, so we
needed to clamp down the
aperture to try and preserve the
skys highlights and the misty
mountains midtones. The darker
foreground forest has been plunged
into shadow. Despite our efforts
therefore, the suns highlights are
too blown out and mountain detail
has been lost in the atmospheric
haze. Fortunately, we captured the
shot in RAW (.NEF) format, so theres
more shadow and highlight detail
available than initially thought.
We could use Quick Fixs Highlight
and Shadow Protection sliders to
selectively adjust highlights and
shadows, but there are more
powerful and accurate ways to
target and tweak particular tones.
Capture NX2 has a range of
selection tools that we can use to
target and tweak specic areas,
so you can selectively lighten
under-exposed shadows, claw back
blown out highlight detail and gently

burn in more midtone information to
give the mountains more impact.
Marvellous masks
Well use these selection tools in the
following steps. As a bonus youll
learn to display the various
selections as overlays or greyscale
masks, so that you can see more
clearly which areas will be altered
by particular adjustments.
07
05
01
Before
01 Selection Control
Point
When you click to place a Selection

Control Point it samples similar
adjacent tones. We used this point
to lighten the foreground forest.
The mountain detail has

been lost but shadows and
highlights can be recovered
After
STEP BY STEP SELECTIONS AND MASKS

Selectively target and adjust particular tones for greater strength and subtlety
Add control point
Lighten the shadows
Draw a gradient
Go to File>Open Image and browser to

01
our Selections_before.NEF shot. Click
on Selection Control Point icon to sample the
foreground forest. In the Select Adjustment tab,
increase the Selection Control Points Size to 57.
Click the Select Adjustment menu, choose

02
Light>Levels & Curves. Click to place a
control point in the middle of the diagonal line.
Place a new point to the left of the rst. Drag it so
the Input reads 65 and the Output a brighter 105.
Click the New Step icon in the Adjust pane.

Grab the Selection Gradient from the tool
bar and draw a gradient down from the top of the
shot to the base of the mountains. The darker
green areas will make a stronger adjustment.
Watch the video http://bit.ly/1atiKAh
WorldMags.net
03
GOING FURTHER
04 Gradient Range
USE A MARQUEE
Draw a selection to help you target
particular areas for adjustment
03
The Selection Brush enables

you to dene which areas will be
adjusted by spraying on them. You
can change the tips Opacity and
Size to work with precision. This is a
great way to dodge or burn tones.
06
02
06 Adjustments
Once youve started to

make a selection, you can assign
an adjustment command to it. This
enables you to change tone or colour
in the selected area.
07 Sensor spots
02 Selection Display
Control
Click here to access different

ways to display a selection. The
Overlay option displays selected
areas in tones of green.
03 Overlay
A green overlay selection

display indicates a graduated
selection. When changing tone levels
in the Adjust pane, the darker green
areas allow a stronger adjustment.
Marquee tools enable you to make a variety

of simple selection shapes
NIKON SOFTWARE
Once youve nished

tweaking the shadows, midtones
and highlights using different
selection techniques, grab the
Auto Retouch Brush and spray
on sensor spots to hide them.
NIKOPEDIA
Another way for you to select a particular

area for adjustment is to grab one of the
marquee tools from the toolbar. If you hold
down the mouse button on the Lasso icon
then you will be able to choose between a
freehand Lasso, Polygon Lasso, Rectangle
Marquee or Oval Marquee.
To help the edited areas within the
selection to blend with their unedited
neighbours, it is always worth increasing the
values in the Edge Softness box to give the
selection a gentle feathered edge. To do this,
click and drag to make a selection and then
create a New Step to choose a particular
tonal or colour editing command.
05 Selection Brush
CAMERA SKILLS
By sliding the Gradient

ranges midpoint you can change the
graduated adjustments transition
so that the sky begins to darken at a
higher or lower point in the frame.
04
INTRODUCTION
NIKON SOFTWARE
WorldMags.net
ESSENTIAL KIT
Burn the mountains
Finishing touches
Set the Select Adjustment drop-down

04
menu to Light>Levels & Curves. Drag the
grey midtone slider right to 0.5 to darken the
levels of the midtones. To ne-tune, drag the
Gradient Ranges grey midpoint slider right to 39.
Grab Selection Brush. Set Size to 400,

05
opacity to 20%. Click to spray. On new
Select Adjustment tab, choose Levels & Curves.
Drag grey midtone slider to 0.6. Spray to darken
mountains. Tick icon to deselect areas.
Tick the Selection sections little head icon,

choose Show Mask. Lightest areas will
have strongest tonal adjustments, black areas
will remain untouched. Click Hide Selection, tick
Opacity and reduce to 80% for subtler tweak.
WorldMags.net
06
2014
VIDEO GUIDES
Darken the sky
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
WorldMags.net
CAPTURE NX 2
CONVERT TO
MONOCHROME
Find out how to convert your images to black
and white, and give them a sepia-toned effect
By converting colour shots
into black and white you
can remove distracting colour
information and draw the viewers
attention to other features in
the scene, such as contrasting
shapes and patterns. However, if
you simply desaturate a shot, you
run the risk of creating a drab wash
of greyscale tones. Here, we'll show
you how to produce more striking
monochrome prints using various
Capture NX 2 tricks and techniques.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
Colour and tone

Traditional lm photographers
would pop coloured lters over the
lens when shooting with black and
white lm. These lters lightened
or darkened tones. For example, a
red lter would darken blues. This
created darker skies in the black
and white print, which made white
clouds stand out more in contrast.
Capture NX 2s Black and White
Conversion command enables us
to digitally recreate this approach

and use sliders to lighten or darken
colours in the mono conversion, so
we can choose which areas stand
out in contrast to others in the shot.
The Photo Effects command does
a similar tone-tweaking job, but also
enables you to add a wash of colour
to the monochrome conversion.
Well put both commands through
their paces so that you can decide
which approach you prefer.
Before
01 Black and White
Conversion
Capture NX 2 emulates
traditional techniques so
that white clouds stand out
This command enables you to

lighten or darken the tones of
specic colours in a monochrome
image to make features stand out.
After
STEP BY STEP MONOCHROME CONVERSIONS

Make tonal adjustments based on colour to improve contrast and composition in your shots
Desaturate the image
Black and White Conversion
Reveal the clouds
Go to File > Open Image and browse to our

01
mono_before.NEF shot. In the Adjust panel
click New Step. Click Select Adjustment, Color,
then Saturation/Warmth. Reduce Saturation to
-100 for a monochrome shot. But it lacks contrast.
Click the 'x' icon to delete the adjustment.

02
Click New Step, then the Select Adjustment
drop-down menu and Black and White Conversion.
Experiment by dragging the Filter Hue slider.
Setting it at 244 darkens warmer colours.
The sky is a dull grey wash. Drag the Filter

Hue slider left to a warmer 61. This darkens
colder blues in the sky, making delicate clouds
stand out more effectively. Boost the Color Filter
Strength to 66 for more cloud and sky contrast.
03

Watch the video http://bit.ly/1dqyMpE WorldMags.net
04 Global adjustments
The Filter Hue slider enables

you to lighten or darken the tones of
specic colours. Use the Brightness
and Contrast sliders to get whiter
whites and blacker blacks.
07
GOING FURTHER
How to discover and recover lost
tonal information in an image
The histogram graph helps

to ensure that we have a wide
spread of tones, from the black
shadows on the left to the white
highlights on the right.
06
02
03
06 Before and after
04
All the edits that we make

to our RAW .NEF le are nondestructive. You can tick and untick
this option to toggle between
the original colour shot and the
monochrome conversion.
07 Rule of thirds
05
This slider mimics the oldschool technique of placing coloured

lters over the lens, then shooting
with black and white lm. Here, a
warm lter darkens cool colours.
03 Color Filter Strength
For a more dramatic contrast

you can increase the value of the Color
Filter Strength slider. This enables us
to darken the pale blue sky so that the
clouds stand out more.
It's easy to spot and x blown-out highlights in

your photos thanks to clipping warnings
NIKON SOFTWARE
02 Filter Hue
When cropping a shot, its

always worth keeping this box
ticked. This overlays a classic
Rule of Thirds grid on the crop
window, enabling you to create
a more well-composed shot.
NIKOPEDIA
When you tweak the monochrome conversions

tones using the Filter Hue and Color
Filter Strength sliders, you run the risk of
overexposing the brightest parts of the shot.
To spot these areas choose View > Show Lost
Highlights. Clipped highlights will appear as
white, while correctly exposed areas will stay
black. Clipped highlights will print out with no
detail theyll just be pure white.
Fortunately, its possible to tweak the
Brightness or Contrast sliders until the
clipped highlights turn black. Theres also a
rather useful Show Lost Shadows command
that displays clipped shadows as patches of
black against a white screen.
CAMERA SKILLS
EARLY WARNINGS
05 Helpful histogram
01
INTRODUCTION
NIKON SOFTWARE
WorldMags.net
ESSENTIAL KIT
Improve the composition
Add contrast and tint
Weve clipped the highlights on the woman

04
on the right. Press Shift+H to view the
blown highlights as white patches on black.
Drag the Contrast slider to -6 to recover the
highlights, then press Shift+H again.
Grab the Crop tool from the top toolbar.

05
Drag the crop handles to lose the
distracting foreground detail, then press Enter.
The shot is cleaner, and its wider aspect ratio
helps enhance the locations sense of space.
Open sepia_before.NEF. Go to Filter > Photo

Effects. In the Adjust panel set the Method
to Black and White. Drag Cyan-Red to -83 to make
the trees stand out. Boost Brightness to 7. Choose
Sepia from the Method menu to add a warm tint.
WorldMags.net
06
2014
VIDEO GUIDES
Reduce the clipping
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
WorldMags.net
CAPTURE NX 2
IMPROVE
COMPOSITION
We show you how to use Capture NX 2s crop
and resize tools to improve composition
One of the quickest and
easiest ways to improve a
photo is to give it a nip and tuck
with the Crop tool. When shooting
an erratically moving subject such
as a dog at play, it can be a challenge
to capture a close-up of the animal.
By zooming out you can increase the
chance of getting a decent action
pose with all of the subject in the
frame, but this leaves lots of dead
space in other parts of the image.
You may also nd that the horizon is
tilted as you pan the camera to
follow the moving subject.
it, so that it will print out at a typical

print size such as 5x7-in.
A common problem when
shooting landmarks is the presence
of unwanted distractions close
to the subject. Cropping the shot
can remove them, and also helps
to make distant objects look more
prominent. Well show you how the
Crop tool can assist you in producing
a landmark shot that meets the
criteria of the rule of thirds.
05
Before
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
Composition
The Crop tool enables you to remove
all these problems with just a
few clicks. In our shot were going
to remove the boring expanse of
beach on the left and change the
shots aspect ratio from landscape
to portrait, which suits the canine
subject matter more effectively.
Well also re-size the shot as we crop
01 Straighten tool
Cropping the image and

changing the aspect ratio
focuses attention on the dog
After
The Straighten tool

straightens and crops an image at
the same time. Its always worth
straightening the horizon before you
perform the main crop.
STEP BY STEP CROP AND COMPOSE

Improve composition, change the aspect ratio and re-size an image in Capture NX 2
Straighten the horizon
Set up the options
Crop the shot

01
crop_before.jpg. Pick the Straighten tool,
then draw a line on the image that follows the
horizon. The Straighten tool calculates the angle
of the tilt and rotates and crops to compensate.
To remove the empty space on the left-hand

02
side, grab the Crop tool. By default it is set
to Free Crop. Click the drop-down menu and
change it to Fixed Aspect Ratio. Click the Custom
drop-down menu and choose 5x7 Portrait.
Click and drag to draw a portrait-oriented

crop window around the dog. Drag inside
the window to ne-tune the composition. Drag any
corner handle to ne-tune which areas you want
to keep. Press Enter to apply the crop.
Watch the video http://bit.ly/1nTRheO
WorldMags.net
03
GOING FURTHER
04 Preset sizes
02
01
RULE OF THIRDS
04
How to create an aesthetically

pleasing composition
05 Greyed out
07
Areas that will be removed

after you apply the crop will appear
grey. You can drag any crop border
handle to re-frame the crop and
ne-tune the composition.
06
06 Crop Assistance Grid
These intersecting lines

enable you to produce a more
aesthetically pleasing composition
using the Rule of Thirds.
07 Resize
02 Crop tool
Because they do a similar job

of improving composition, the
Straighten and Crop tools sit side by
side in the toolbar.
03 Aspect Ratio
This term refers to the shape

and orientation of the shot, such as
portrait or landscape. You can change
this drop-down menu to perform an
unconstrained free crop.
Use the Crop Assistance Grid to arrange your

photo according to the Rule of Thirds
NIKON SOFTWARE
If you crop tightly using a

Fixed Aspect Ratio such as 8x10, the
cropped area may not be large
enough to print at the desired print
size. You can type in a larger size
here, but dont resample the image
or it will look fuzzy.
NIKOPEDIA
When shooting a subject such as our misty

castle its tempting to plonk the subject in the
centre of the frame. One way to create a more
aesthetically pleasing composition is to use
the Rule of Thirds as a guide, splitting the
image into thirds horizontally and vertically
and placing your subject on one of these
imaginary lines or intersections. The Crop
tools Crop Assistance Grid features two
equally spaced horizontal and vertical lines
that break the scene into a grid of nine boxes.
These boxes help us to re-frame the image so
that features in the landscape fall within the
horizontal or vertical bands or into specic
boxes. You can also use the grid to place key
features, such as the castle, so that they
appear on an intersection of lines.
CAMERA SKILLS
If you choose Fixed Aspect

Ratio then you can select from a
variety of common print sizes in
both portrait or landscape
orientations.
03
INTRODUCTION
NIKON SOFTWARE
WorldMags.net
ESSENTIAL KIT
Remove distractions
Improve composition
To check that the shot has been re-sized to

04
a 5x7 print aspect ratio, go to Edit > Size/
Resolution. A Size/Resolution box will appear in
the Edit List window. Our portrait is 5.66x7.93-in.
Type 5 into Width and the Height will change to 7.

05
composition_before.jpg. Grab the Crop tool.
Choose Fixed Aspect Ratio. On the adjacent menu,
pick 8x10 Landscape. Tick Show Crop Assistance
Grid. Click and drag to crop out the photographer.
Drag inside the Crop window so that

intersecting lines overlap the tower and
mound. Weve placed the sky in the top three boxes,
the lake in the middle three and the foreground in
the lower three. Press Enter to apply the crop.
WorldMags.net
06
2014
VIDEO GUIDES
Fine-tune the size
Page 154
Page 212
Page 142
Page 178
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
INTRODUCTION
WorldMags.net
Page 166
WorldMags.net
Essential kit
NIKOPEDIA
Budget telephoto zooms ........................128

Wide-angle zooms...................................142
Superzooms.............................................154
Standard zooms ......................................166
Macro lenses ...........................................178
Super telephotos ....................................190
Tripods.....................................................202
Flashguns ................................................212
CAMERA SKILLS
Page 202
INTRODUCTION
WorldMags.net
Page 128
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
WorldMags.net
BUDGET
CAMERA SKILLS
INTRODUCTION
WorldMags.net
NIKON SOFTWARE
NIKOPEDIA
You can get more reach with a

good-quality telephoto zoom, but
should you go for Nikon glass or
a third-party offering? We test
out eight models to find out
VIDEO GUIDES
ESSENTIAL KIT
2
5
WorldMags.net
THE CONTENDERS
1 Nikon 55-200mm f/4-5.6G
AF-S DX IF-ED VR 195, $247
INTRODUCTION
WorldMags.net
2 Nikon 55-300mm f/4.5-5.6G

AF-S DX ED VR 210, $397
4 Sigma 50-200mm f/4-5.6

DC OS HSM 170, $200
5 Sigma 70-300mm f/4-5.6
APO DG Macro 146, $154
6 Sigma 70-300mm f/4-5.6
DG OS 98, $200
CAMERA SKILLS
3 Nikon 70-300mm f/4.5-5.6G

AF-S VR IF-ED 420, $587
7 Tamron 70-300mm f/4-5.6

AF Di LD Macro 100, $200
NIKOPEDIA
8 Tamron 70-300mm f/4-5.6

SP Di VC USD 350, $450
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
WorldMags.net
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
ESSENTIAL KIT WorldMags.net

heres no shortage of
quality in the 18-55mm
and 18-105mm kit zoom
lenses that are supplied with
current Nikon D-SLRs. However,
one thing they lack is telephoto
reach, so a telephoto zoom is
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lens you buy. Top professional
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telephoto zoom lens available.
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zoom range for non-professional
telephoto lenses. Nikon DX-format
cameras have a focal length
multiplier, or crop factor, of 1.5x.
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the actual focal length of a lens by
1.5 youll get the effective focal
length of using it on a full-frame
camera. Thats
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zoom ranges of about 50-200mm
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becomes 75-300mm, in keeping
with convention.
Full-frame pros and cons
JARGON BUSTER
Ultrasonic
This type of autofocus
is driven by an AC electric
motor, with a frequency
of about 30kHz. Thats a
higher frequency than
audible sound.
Crop factor
This is how much you
need to multiply the
actual focal length of a
lens by to get its effective
focal length, or its
equivalent angle of view
on a full-frame camera.
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telephoto zoom to your DX-format
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EQUIPMENT KNOW-HOW
FEATURES TO LOOK FOR
Maximum
magnication
Even relatively compact telephoto

zooms can be big on features
At their closest focus distances,

the Sigma 70-300mm APO and
Tamron 70-300mm AF lead the
way with a 0.5x macro facility. The
maximum magnication of other
lenses in the group is about 0.25x.
Zoom range
A 50-200mm lens will give you
an effective zoom range of 75300mm, whereas a 70-300mm
model provides a more powerful
telephoto reach of up to 450mm.
Maximum aperture
Image stabilisation
The largest aperture on budget

telephoto lenses is usually f/4 or
f/4.5 at the shortest focal length,
reducing to f/5.6 at the maximum
zoom setting.
Not all lenses have optical

stabilisation, though many of
the latest Nikons, Sigmas and
Tamrons offer it equivalent to four
stops, for sharp handheld shots.
Sensor type
VIDEO GUIDES
Autofocus motor
Nikon FX, Sigma DG and Tamron

Di lenses are fully compatible
with both full-frame and APS-C
camera bodies. DX, DC and Di II
lenses are designed specically
for APS-C cameras and produce
smaller image circles.
Standard electric motors are

often quite noisy and slow.
Ultrasonic ones are quieter and
faster, while ring-type ultrasonic
systems are the fastest, and
nearly silent.
WorldMags.net
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autofocus, but there are actually
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In this group, only the Nikon
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ultrasonic autofocus. Both of
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Lastly, the Nikon 55-200mm
VR, Nikon 70-300mm VR, Sigma
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70-300mm VC USD lenses use
internal focusing. The front
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focusing, which makes it easier to
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circular polarizers.
Our tests are carried out under fixed conditions

using industry-standard tools and procedures
The N-Photo Test Team runs
two sets of tests in parallel.
These comprise real-world shots
of carefully chosen, standardised
subjects, and lab trials that use
dedicated hardware and analysis
software. Youll see both sets of
results together in the Image
Quality in Focus section on pages
136 and 137, where you can also
compare the results from
different lenses.
To do the real-world tests, we
combine an ISO 12233 resolution
chart, an architectural subject

thats specifically chosen to
highlight chromatic aberration,
and a brick wall to show the
effects of distortion.
We choose to run two sets of
tests because neither shows the
full picture on its own. The
real-world trials show how lenses
perform in a highly simplified,
visual way, while the lab data
offers a much broader but more
technical assessment of lens
performance.
Our real-world resolution tests are done with this industry-standard ISO
12233 chart. The full lab data you can see on pages 120 and 121 is
generated with the Imatest Master and DxO Anaylser testing suites
NIKON SOFTWARE
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especially at long telephoto focal
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latest VR lenses offer a four-stop
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still expect to get sharp, shakeIUHHLPDJHVZLWKVRPHGHJUHHRI
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when it comes to autofocus motors.
Most current Nikon lenses feature
REAL-WORLD MEETS LAB
NIKOPEDIA
If youre not fussed about size and weight,

theres a lot to be said for fitting a full-frame
telephoto zoom to your DX-format Nikon
HOW WE TEST
CAMERA SKILLS
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aperture of f/5.6 at the telephoto
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be tricky in anything other than
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Thats where image stabilisation
comes to the rescue.
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sensor-shift image stabilisation
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Nikon opts for optical stabilisation
within the lens, which it calls
INTRODUCTION
WorldMags.netESSENTIAL KIT
STEP BY STEP A moment of clarity

ESSENTIAL KIT
Get the clearest, sharpest images possible from your telephoto zoom
02 Use the lens hood
03 Normal vs Active VR
When youre shooting into the distance with a

telephoto, haze in the atmosphere can degrade
your photos. A UV lter can help, and will also
protect the front lens element from scrapes and
scratches. Check the lters size before you buy.
All the lenses on test come complete with a hood.

With telephoto shots, these can greatly reduce
ghosting and are. Lenses that use internal
focusing have petal-shaped hoods, reecting the
fact that their front element doesnt rotate.
Some Nikon lenses feature Normal and Active

modes in their Vibration Reduction system.
Normal is for regular use, while Active is meant
to be used when youre shooting from a
vibrating platform such as a moving train.
WorldMags.net
VIDEO GUIDES
01 Fit a lter
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
Nikon 55-200mm f/4-5.6G

AF-S DX IF-ED VR 195, $247
This baby Nikon cuts telephotos down to size and
could fit into a corner of almost any gadget bag
This Nikon DX lens is
GHVLJQHGVSHFLFDOO\IRU
APS-C cameras, rather than
full-frame ones, and combines
a useful 82.5-300mm effective
zoom range with a remarkably
compact, lightweight build.
,QGHHGLWVOHVVWKDQKDOIWKH
weight of the full-frame Nikon
PP95OHQVDQGRQO\
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55-200mm still manages to pack
in plenty of useful features, such
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focusing. This means that the
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inspiring. Its the only one in

our test group to have a plastic
mount rather than a metal one,
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two Nikon lenses on test.
Performance
55mm
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But this lens was impressive at
the maximum focal length of
200mm. Vignetting was also
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FEATURES
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VALUE FOR MONEY
This lens lacked
the reach of the
big boys, but
sharpness was
good at 200mm
200mm
OVERALL
WE SAY Build quality isnt top
drawer, but optical performance
was good at the telephoto end.
Nikon 55-300mm f/4.55.6G AF-S DX ED VR 210, $397

This lens feels quite small and light but it comes
with built-in VR and a mighty zoom range
Like the slightly smaller
and lighter Nikon
55-200mm lens, this newer
model is built exclusively for
APS-C cameras, so its still
reasonably compact. Despite
its fairly small size, it offers the
biggest 5.5x zoom range of any
OHQVWHVWHGVWUHWFKLQJIURPDQ
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Unlike the 55-200mms
VR system, this lens features
Nikons later generation of the
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four stops of stabilisation. Thats
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telephoto reach of the lens.
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is that the mounting plate
is metal rather than plastic.
However, the 55-300mm VR is
the only Nikon in the group that

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The rotating front element is a
pain when youre using rotationVHQVLWLYHOWHUV2QHQLFHWRXFK
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is particularly easy to attach
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55mm
Performance
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throughout most of the zoom
UDQJHDOWKRXJKLWVORZHGDELW
at the maximum 300mm focal
length. The VR system gave
more consistent results than the
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lenses on test.
FEATURES
BUILD QUALITY
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VALUE FOR MONEY
We got plenty of
detail and
contrast, and a
great 5.5x zoom
range to boot
WorldMags.net
300mm
OVERALL
WE SAY Impressive zoom range,
VR and optical quality. Shame about
the rotating front element.
Nikon 70-300mm f/4.55.6G AF-S IF-ED VR 420, $587

silent autofocus, with full-time
PDQXDORYHUULGHZKLFKDOORZV
you to manually focus even in
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Performance
In our lab tests, sharpness was
excellent throughout most of the
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off at maximum zoom. However,
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300mm the lens consistently
gave really crisp-looking images,
with great contrast. This shows
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a lenss character.
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be great for sports photography.
70mm
FEATURES
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The Nikon
70-300mm VR
consistently
delivered top
results in tests
300mm
OVERALL
WE SAY With its dual-mode VR II
and ring-type autofocus, this lens
has good quality and great handling.
NIKON SOFTWARE
Sigma 50-200mm f/4-5.6

DC OS HSM 170, $200
This low-cost Sigma is a direct rival to the Nikon
55-200mm VR, but does it come out on top?
lacking on Nikons 55-200mm
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The focus ring is also easier
to use for manual focusing.
However, because the ring
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easier to foul its action with your
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Performance
ESSENTIAL KIT
50mm
In terms of sharpness, optical

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that on Nikons competing
55-200mm VR lens. The Sigma
was more typical of telephoto
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focal lengths. At the maximum
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200mm setting, the sharpness
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FEATURES
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VALUE FOR MONEY
Sharpness
suffered when
we shot at the
maximum zoom
and aperture
200mm
WorldMags.net
OVERALL
WE SAY A neat little lens thats
cheaper than the Nikon 55-200mm.
But sharpness was poor at 200mm.
VIDEO GUIDES
There are many

similarities between
this Sigma and the Nikon 55200mm VR.%RWKDUHGHVLJQHG
exclusively for DX-format Nikons
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though the Sigma is a little
heavier. They also both feature
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internal focusing with nonrotating front elements. The
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three, but the effectiveness was
the same in our tests.
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the Sigma having a metal
mounting plate rather than a
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NIKOPEDIA
When you pick up the

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thing you notice is how much
bigger and heavier it is than
the other Nikons on test. The
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panning. Its also compatible
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stabiliser has the same fourVWRSDGYDQWDJHDVWKH1LNRQ
55-300mm VR, but this time
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Its also the only Nikon
on test to feature ring-type
AF-S, for super-fast, near-
CAMERA SKILLS
This full-frame telephoto zoom is big on size

and weight but even bigger on features
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
Sigma 70-300mm f/4-5.6

APO DG Macro 146, $154
Are you ready for your close-up? This low-cost
Sigma can tackle subjects both near and far
Bearing Sigmas DG
designation, not DC,
this lens is designed for both
full-frame and APS-C D-SLRs.
,WV$32$SRFKURPDWLFGHVLJQ
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close-focusing capability. The
super-close focus is available in
the 200-300mm zoom range via
a switch on the lens barrel. This
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IRFXVGLVWDQFHRIFPGHOLYHUD
0.5x macro facility.
For regular telephoto
shooting, the absence of an
optical stabiliser is a setback,
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autofocus motor was fairly

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IURQWHOHPHQWDOVRH[WHQGVDQG
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Performance
Impressive throughout most
of its zoom range, the Sigmas
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ORQJHQGRIWKH]RRPUDQJH
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the frame. Sharpness at 300mm
was poor across the whole frame
at small apertures of f/16 to
f/32, which you might want to
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levels of chromatic aberration,
though image contrast was often
EDGZKHQZHVKRWLQORZOLJKW
70mm
FEATURES
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This image is
sharp but theres
no stabiliser, so
shooting is too hit
and miss
300mm
OVERALL
WE SAY The lens has been around
a while, and the lack of stabilisation
made handheld shooting tricky.
Sigma 70-300mm
f/4-5.6 DG OS 98, $200
Is this just the Sigma APO DG Macro with an
image stabiliser? No, it has a few new tricks
It might seem that the
newer 70-300mm OS
lens is simply Sigmas older
model with an optical
stabiliser. In fact, its completely
GLIIHUHQW%XWZKDW\RXJDLQLQD
highly effective four-stop optical
stabiliser, you lose elsewhere.
This lens only has one SLD
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GLVDSSHDUVDOWRJHWKHU(YHQVR
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stabilisation has become a
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telephoto shooting with effective
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Neither of Sigmas 70-300mm
lenses have ultrasonic autofocus
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OHQVVIRFXVLQJLVIDLUO\TXLFNEXW
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element rotates when it focuses,
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polarisers tricky to use.
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Performance
70mm
In our tests, the stabiliser on this

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consistently than the Sigma
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the DG lacks the competing
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label, chromatic aberration was
even less noticeable. Sharpness
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at the maximum aperture at
300mm too.
FEATURES
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IMAGE QUALITY
VALUE FOR MONEY
This lens gave a
sharper image at
300mm than its
70-300mm APO
cousin
WorldMags.net
300mm
OVERALL
WE SAY A good zoom range and
optical quality, backed up by an
efficient four-stop optical stabiliser.
Tamron 70-300mm f/45.6 AF Di LD Macro 100, $200

0.5x macro facility, this time
available in the 180-300mm
zoom range.
7KH7DPURQLVTXLWHOLJKWIRU
a full-frame 70-300mm lens,
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Performance
70mm
A capable performer throughout

the 70-200mm zoom range, the
7DPURQVKRZHGWKHVWUDLQDV
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300mm focal length. Sharpness
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painfully slow in our tests,
especially at long focal lengths.
FEATURES
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Our results were
decent but the
autofocus also
struggled to
keep up
300mm
OVERALL
WE SAY Cheap, but hamstrung by
its slow autofocus and lack of
image-stabilisation facility.
NIKON SOFTWARE
Tamron 70-300mm f/45.6 SP Di VC USD 350, $450

The new Tamron has all the right credentials,
so does it deliver the performance it promises?
ZLWKLQHDV\UHDFK%XLOGTXDOLW\
is vastly superior to that of
Tamrons 70-300mm lens, the
only failing being that the zoom
ring on our review sample was
slightly lacking in smoothness.
ESSENTIAL KIT
Performance
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DWWKHPPHQGRIWKH]RRP
UDQJHDQGJRRGRSWLFDO
SHUIRUPDQFHZDVPDLQWDLQHG
up to a focal length of about
250mm. At the maximum
300mm telephoto setting,
however, sharpness took a
QRVHGLYH$WILWGHOLYHUHG
the lowest resolution of any lens
on test. Its a shame, because in
all other respects the Tamron
has a lot to offer.
70mm
FEATURES
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VALUE FOR MONEY
We got decent
results but found
that resolution
suffered at
full zoom
300mm
WorldMags.net
OVERALL
WE SAY Theres a lot to love about
this lens, but its let down by a lack
of sharpness when fully zoomed in
VIDEO GUIDES
Tamrons new 70-300mm

lens packs a host of
features. From the SP (Super
Performance) stable, its a Di
(Digitally Integrated) lens
suitable for both full-frame
and APS-C bodies. Tamron
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the ring-type USD autofocus
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70-300mm VR lenss in this
group. The formers was very
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at the rear of the lens barrel
NIKOPEDIA
At roughly half the

price of many telephoto
zooms, Tamrons 70-300mm
is nevertheless designed for
use with both full-frame and
APS-C D-SLRs, as denoted
E\LWV'LVXI[ It shows its
age though, lacking Tamrons
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to watch out for is that, prior
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without a built-in autofocus
PRWRUVRHDUO\PRGHOVFDQRQO\
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on cameras such as the D3100
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FDPHUDDXWRIRFXVGULYHPRWRU
Like the Sigma 70-300mm
$32WKLVOHQVIHDWXUHVD
CAMERA SKILLS
Is this the best bargain of them all? It even works

with both full-frame and DX-format Nikons
INTRODUCTION
INTRODUCTION
IMAGE QUALITY IN FOCUS

Nikon 55-200mm f/4-5.6G
AF-S DX IF-ED VR
135MM f/8
SHARPNESS
NIKOPEDIA
CAMERA SKILLS
Find out how the lenses on test compare our

detailed lab results separate the best from the worst
16
135MM f/8
Centre sharpness at 55mm and 200mm

produced average results, but at 135mm
images showed signs of softening.
LAB TEST
FRINGING
135MM f/8
At 55mm and 135mm, centre sharpness

was excellent. While this dropped at the
longest focal length, detail was still good.
LAB TEST
18
Sigma 50-200mm f/4-5.6

DC OS HSM
135MM f/8
Sharpness at 70mm and 135mm was

above average, but dropped steeply as
the focal length increased to 300mm.
LAB TEST
20
Overall, the Sigmas 50-200mm centre

sharpness was the lowest, not helped by
its disappointing result at 200mm.
LAB TEST
1243
Sharpness at 55mm
2243
Sharpness at 70mm
1783
Sharpness at 50mm
1306
Sharpness at 135mm
906
Sharpness at 135mm
2242
Sharpness at 135mm
2178
Sharpness at 135mm
1220
Sharpness at 200mm
1389
Sharpness at 300mm
1386
Sharpness at 300mm
882
Sharpness at 200mm
634
55MM
Across the focal range and frame,

fringing was minimal, with only a slight
sign of a blue edge.
LAB TEST
70MM
Signs of fringing were low, with only the

smallest appearance of a blue or red edge
at 300mm.
LAB TEST
50MM
At both 200mm and 300mm there

were visible signs of blue fringing towards
the edge of the frame.
LAB TEST
At 50mm and 135mm, colour fringing

was low, and there was only a faint sign
of a blue edge at 200mm.
LAB TEST
Fringing at 55mm
0.62
Fringing at 55mm
0.05
Fringing at 70mm
0.69
Fringing at 50mm
0.20
Fringing at 135mm
0.36
Fringing at 135mm
0.1
Fringing at 135mm
0.42
Fringing at 135mm
0.30
Fringing at 200mm
0.65
Fringing at 300mm
0.29
Fringing at 300mm
0.97
Fringing at 200mm
0.34
55MM
DISTORTION
NIKON SOFTWARE
ESSENTIAL KIT
22
Nikon 70-300mm f/4.5-5.6G

AF-S IF-ED VR
Sharpness at 55mm
55mm
55MM
At 55mm the Nikon lens showed mild

barrel distortion, while at 135mm and
200mm there was visible pinch distortion.
LAB TEST
VIDEO GUIDES
Nikon 55-300mm f/4.5-5.6G

AF-S DX ED VR
70MM
Across the focal range this lens showed

visible signs of distortion, with the highest
pinch distortion result at 135mm.
LAB TEST
50MM
Barrel distortion matched the other

Nikons at maximum focal length. But at
300mm pinch distortion was the lowest.
LAB TEST
There were signs of barrel distortion at

50mm. At 200mm, pinch distortion was
the most visible in the test.
LAB TEST
Distortion at 55mm
-0.50
Distortion at 55mm
-0.49
Distortion at 70mm
-0.5
Distortion at 50mm
-0.96
Distortion at 135mm
1.64
Distortion at 135mm
2.16
Distortion at 135mm
1.03
Distortion at 135mm
1.6
Distortion at 200mm
1.31
Distortion at 300mm
1.33
Distortion at 300mm
0.80
Distortion at 200mm
1.64
IMAGE QUALITY VERDICT

Fringing and distortion across the
focal range were poor and the drop in
sharpness in the middle of the focal
range is disappointing.

Sharpness at the widest and middle
focal lengths was excellent, but the
level of pinch distortion obvious at
135mm was rather high.

Sharpness at 70mm and 135mm was
good, although this lens showed a high
result for fringing across the available
focal range.
WorldMags.net

Levels of sharpness and colour
fringing were average, but the level
of distortion from barrel to pinch
proved the highest in the test.
The tests explained!
Sharpness
Fringing
Distortion
(low scores are

better)
Our real-world test
shows how colour fringing affects a
subject, while the lab results provide
precise values at different focal lengths.
The perfect result would be 0%.
Sigma 70-300mm f/4-5.6

APO DG Macro
Sigma 70-300mm f/4-5.6

DG OS
Tamron 70-300mm
f/4-5.6 AF Di LD Macro
135MM f/8
18
135MM f/8
LAB TEST
135MM f/8
The Sigma 70-300mm put in a good,

consistent performance, with only the
smallest drop in sharpness at full zoom.
LAB TEST
16
Tamron 70-300mm
f/4-5.6 SP Di VC USD
135MM f/8
Sharpness peaked at 135mm. Centre

sharpness was average for the group at
70mm but detail dropped at 300mm.
LAB TEST
22
Centre sharpness at 135mm was high.

However, detail was lost at 200mm, with
the lowest result in the test.
LAB TEST
Sharpness at 70mm
2295
Sharpness at 70mm
2174
Sharpness at 70mm
1315
Sharpness at 70mm
1320
Sharpness at 135mm
2204
Sharpness at 135mm
1858
Sharpness at 135mm
1501
Sharpness at 135mm
1913
Sharpness at 300mm
988
Sharpness at 300mm
1341
Sharpness at 300mm
828
Sharpness at 300mm
474
70MM
70MM
LAB TEST
This Sigma showed the least fringing in

the test, with little to no signs at all focal
lengths and across the frame.
LAB TEST
70MM
Signs of fringing across the frame and

at all focal lengths were consistently
rare, especially at longer focal lengths.
LAB TEST
Although the Tamron showed one of

the higher results for fringing in the test,
visible signs were hard to spot.
LAB TEST
Fringing at 70mm
0.09
Fringing at 70mm
0.05
Fringing at 70mm
0.57
Fringing at 70mm
0.4
Fringing at 135mm
0.17
Fringing at 135mm
0.13
Fringing at 135mm
0.08
Fringing at 135mm
0.36
Fringing at 300mm
0.14
Fringing at 300mm
0.08
Fringing at 300mm
0.05
Fringing at 300mm
0.24
70MM
This showed the least amount of barrel

distortion at 70mm. Distortion across the
rest of the focal range was average.
LAB TEST
70MM
At 135mm the Sigma showed the least

pinch distortion in the test; at 70mm and
300mm distortion was average.
LAB TEST
70MM
Pinch distortion was worst at 135mm,

but at the widest and narrowest focal
lengths distortion was low to medium.
LAB TEST
Signs of distortion across the focal

range were comparatively low, producing
better-than-average results for this test.
LAB TEST
Distortion at 70mm
-0.05
Distortion at 70mm
-0.34
Distortion at 70mm
-0.23
Distortion at 70mm
-0.27
Distortion at 135mm
1.25
Distortion at 135mm
0.55
Distortion at 135mm
1.05
Distortion at 135mm
0.82
Distortion at 300mm
0.96
Distortion at 300mm
0.84
Distortion at 300mm
0.96
Distortion at 300mm
0.83

The Sigma 70-300mm produced the
best results in the test across the
board for sharpness, colour fringing
and distortion.
The Tamrons performance was

unexceptional, and it sat firmly in the
middle of the group for sharpness,
colour fringing and distortion.
WorldMags.net
Centre sharpness at 135mm was very

good, but images at 200mm and
beyond lacked detail. Fringing also
proved an issue at 135mm.
VIDEO GUIDES

This lens scored two of the highest
results for sharpness at 70mm and
135mm, and came second in the test
for fringing and distortion.
ESSENTIAL KIT
70MM
NIKON SOFTWARE
Fringing at all focal lengths and across

the frame was minimal. Close analysis
showed a faint green/blue edge.
70MM
NIKOPEDIA
At 70mm, the Sigma APO produced the

best sharpness result in our test. But
detail dropped at 300mm.
26
(scores closest
to 0 are best)
The shots of the
brick wall show how distortion affects
our real-world subject, while the lab
data reveals clear measurements.
Again, the perfect result would be 0%.
CAMERA SKILLS
Our real-world test images give

a visual demonstration of each
lenss performance, while the
lab data shows the full picture
(high scores are

better)
Our real-world
resolution test uses a standard ISO 12233
chart. The point where the lines merge is
the maximum resolution (line widths per
picture height, multiplied by 100).
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES

COMPARISON TABLE
Nikon 55-200mm
f/4-5.6G AF-S DX
IF-ED VR
Nikon 55-300mm
f/4.5-5.6G AF-S
DX ED VR
Nikon 70-300mm
f/4.5-5.6G AF-S
IF-ED VR
Sigma 50-200mm
f/4-5.6G DC OS HSM
Sigma 70-300mm
f/4-5.6 APO
DG Macro
Sigma 70-300mm
f/4-5.6 DG OS
Tamron 70-300mm
f/4-5.6 AF Di
LD Macro
www.nikon.com
195, $247
No
82.5-300mm
f/4-5.6 to f/22-32
Three-stop
Ultrasonic (basic)
Yes
No
110cm
0.23x
Plastic
15/11
7
52mm
Hood, pouch
73x100mm
175mm
335g
www.nikon.com
210, $397
No
82.5-450mm
f/4.5-5.6 to f/22-29
Four-stop
Ultrasonic (basic)
No
Yes
140cm
0.22x
Metal
17/11
9
58mm
Hood, pouch
77x123mm
225mm
530g
www.nikon.com
420, $587
Yes
105-450mm
f/4.5-5.6 to f/32-40
Four-stop
Ultrasonic (ring-type)
Yes
No
150cm
0.25x
Metal
17/12
9
67mm
Hood, pouch
80x144mm
258mm
745g
www.sigmaphoto.com
170, $200
No
75-300mm
f/4.5-5.6 to f/22-32
Four-stop
Ultrasonic (basic)
Yes
No
110cm
0.22x
Metal
14/10
8
55mm
Hood
74x99mm
161mm
420g
www.sigmaphoto.com
146, $154
Yes
105-450mm
f/4-5.6 to f/22-32
None
Standard electric
No
Yes
95cm
0.5x
Metal
14/10
9
58mm
Hood, pouch
77x119mm
249mm
550g
www.sigmaphoto.com
98, $200
Yes
105-450mm
f/4-5.6 to f/22-32
Four-stop
Standard electric
No
Yes
150cm
0.25x
Metal
16/11
9
62mm
Hood
77x123mm
235mm
610g
www.tamron.com
100, $200
Yes
105-450mm
f/4-5.6 to f/32-45
None
Standard electric
No
Yes
95cm
0.5x
Metal
13/9
9
62mm
Hood
77x117mm
214mm
435g
Tamron 70-300mm
f/4-5.6 SP Di
VC USD
HOW THE
LENSES
COMPARE
WEBSITE
STREET PRICE
FULL-FRAME
EQUIV ZOOM (APS-C)
APERTURE RANGE
IMAGE STABILISER
AUTOFOCUS MOTOR
INTERNAL FOCUS
FRONT ELEMENT ROTATES
MIN FOCUS DISTANCE
MAX MAGNIFICATION
LENS MOUNT
ELEMENTS/GROUPS
DIAPHRAGM BLADES
FILTER SIZE
ACCESSORIES INC
DIAMETERxMIN LENGTH
MAX LENGTH WITH HOOD
WEIGHT
www.tamron.com
350, $450
Yes
105-450mm
f/4-5.6-f/32-45
Four-stop
Yes
No
150cm
0.25x
Metal
17/12
9
62mm
Hood
82x143mm
280mm
765g
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
10 things we learnt in this test

Out and about with a telephoto zoom, a few factors soon came to light
1 Weighty decisions
5 On the move
8 In the hood
A heavier telephoto lens can be an
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HDVLHUWRDYRLGFDPHUDVKDNHDWORQJIRFDO
lengths, especially when youre panning.
Hold steady
Slow going
$JRRGTXDOLW\RSWLFDOVWDELOLVDWLRQ
system makes for much greater consistency
when youre attempting to get sharp
KDQGKHOGWHOHSKRWRVKRWV
$XWRIRFXVVSHHGWHQGVWRGHFUHDVHDW
WKHORQJHQGRIWKH]RRPUDQJHLQWHOHSKRWR
lenses. This is most noticeable in 70-300mm
lenses.
Noise reduction
Ultrasonic autofocus systems are

JHQHUDOO\PXFKTXLHWHUWKDQWKHPRUHEDVLF
HOHFWULFPRWRUVWWHGWRVRPHOHQVHV
Faster, ring-type ultrasonic autofocus,

DVWWHGWRWKH1LNRQPP95DQG
Tamron 70-300mm VC USD, is better for
WUDFNLQJIDVWPRYLQJVXEMHFWV
Time to downsize
Mind the gap?
Choosing a 50-200mm
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1LNRQVVDYHVRQVL]HDQG
weight while still enabling
a generous 300mm effective
telephoto focal length.
7KHUHVQRQHHGWR
worry about the gap in focal
length between an 18-55mm
NLWOHQVDQGDPP
telephoto zoom. In practice, this
really isnt a problem.
WorldMags.net
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DWHOHSKRWROHQVQRWRQO\JXDUGVDJDLQVW
JKRVWLQJDQGDUHEXWDOVRSURWHFWVWKHIURQW
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Wide open
<RXRIWHQQHHGWRVKRRWDWPD[LPXP
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IDVWVKXWWHUVSHHGVHVSHFLDOO\DW
long zoom settings. Therefore,
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10
Mix and match
Lenses in which
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much easier to use with
URWDWLRQVHQVLWLYHOWHUV
such as circular polarizing or
JUDGXDWHGOWHUV
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INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES

THE WINNER IS...
Nikon 70-300mm f/4.55.6G AF-S IF-ED VR

Its the most expensive lens on test
but its also the best, so if your budget
will stretch this is the one to go for
Nikon has packed plenty of top-level
features into the 70-300mm VR,
including ring-type AF-S autofocus thats
super-quick and practically silent. Theres
also VR II stabilisation, which gives a
FRQVLVWHQWIRXUVWRSDQWLVKDNHEHQHW
FRPSOHWHZLWKDQDGGLWLRQDO$FWLYHPRGHIRU
shooting from a vibrating platform. The
resolution at the maximum 300mm zoom
setting wasnt as impressive in our lab tests
DVZHGH[SHFWHGEXWWKHOHQVGHOLYHUHGWKH
VKDUSHVWVKRWVLQWKHJURXSIRUUHDOZRUOG
shooting, time after time.
The Tamron 70-300mm VC USD is close
in terms of features. However, sharpness at
WKHORQJHVW]RRPVHWWLQJUHDOO\ZDVTXLWH
GLVDSSRLQWLQJHVSHFLDOO\DWWKHODUJHVW
available aperture of f/5.6. The cheaper
6LJPDPP26
SURYHGPXFKEHWWHULQ
WKLVUHVSHFWDQGFRVWVOHVV
than the Tamron.
DX delight
2IOHQVHVGHVLJQHGVSHFLFDOO\IRU';IRUPDW
cameras, theres a clear winner in Nikons
55-300mm VR. Its better built than the
VPDOOHU1LNRQPP95DQGLWV
stabiliser works more effectively than those
LQERWKWKH1LNRQPP95DQG6LJPD
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RIIHUVVXFKDPDMRUDGYDQWDJHWKDWOHQVHV
VXFKDVWKH6LJPD$320DFURDQG
Tamron 70-300mm Macro seem pretty
much obsolete. Theyre only worth a look if

\RXUHRQDWLJKWEXGJHW(YHQWKHQLI\RX
KDYHD';IRUPDW'6/5ZHGVDFULFHWKH
H[WUDWHOHSKRWRUHDFKDQGJRIRUWKH1LNRQ
PP95RU6LJPDPP26
Whats good Great build quality for this class of
lens, with a top feature-set.
Whats bad Sharpness could be better at the
300mm end of the zoom range.
Our verdict For any Nikon full-frame or APS-C
camera, this is the best budget telephoto zoom.
OVERALL
Not winners but denitely not losers
Nikon 55-200mm f4-5.6G

AF-S DX IF-ED VR
Nikon 55-300mm f/4.55.6G AF-S DX ED VR
Tamron 70-300mm f/4-5.6

SP Di VC USD
Whats good Decent optical performance,

especially at full zoom, and its small and light.
Whats bad An odd dip in sharpness in the
middle of the zoom range.
Our verdict Its not perfect, but this lens is
inexpensive and a good first telephoto option.
Whats good Good all-round optical

performance, and a sturdy build at the price.
Whats bad Lacks exotic ring-type AF-S, and the
front element rotates during focusing.
Our verdict For DX-format Nikon D-SLRs, you
simply cant go wrong at the price.
Whats good The Vibration Compensation and

Ultra Sonic Drive autofocus are great.
Whats bad Sharpness drops off noticeably at
the longest end of the zoom range.
Our verdict Its a high-quality lens but the Nikon
70-300mm is worth the extra money.
OVERALL
OVERALL
OVERALL
Visit www.nphotomag.com for more expert reviews

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INTRODUCTION
CAMERA SKILLS
WorldMags.net
NIKOPEDIA
8
7
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
ULT R A
WIDE-ANGLE LENSES
From cramped interiors to sweeping landscapes, an ultra-wide lens will

help you see the big picture. We hunt out the best Nikon-fit deals
WorldMags.net
THE CONTENDERS
1 Samyang 14mm f/2.8 IF ED UMC 330, $355
INTRODUCTION
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2 Tamron 10-24mm f/3.5-4.5 SP AF Di II 360, $499
3 Sigma 10-20mm f/4-5.6 EX DC HSM 350, $399
4 Sigma 10-20mm f/3.5 EX DC HSM 400, $650
6 Sigma 8-16mm f/4.5-5.6 DC HSM 550, $650

7 Tokina 12-24mm f/4 AT-X124 PRO DX II 440, $400
8 Nikon 10-24mm f/3.5-4.5G AF-S DX ED 640, $780
CAMERA SKILLS
5 Tokina 10-17mm f/3.5-4.5 AT-X107 DX 530, $600
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
WorldMags.net
INTRODUCTION
CAMERA SKILLS

EQUIPMENT KNOW-HOW
FEATURES TO
LOOK FOR
The basics you should tick
off, plus some fancy extras
Lens hood
Autofocus
A ower-shaped lens hood comes

with most ultra-wide lenses, and is
useful for minimising ghosting and
are. In some cases, the hood is
built into the lens.
Ring-type ultrasonic autofocus

is best it offers very fast and
near-silent operation, along with
full-time manual override.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Filter thread
Zoom range
Not all ultra-wide lenses have a thread

for attaching lters. Theyre absent on
the Samyang and Tokina 10-17mm ones,
and can only be used at the longest
zoom on the Sigma 8-16mm lens.
A bigger zoom range can be a

bonus, but for ultra-wide lenses a
short minimum focal length is the
key factor. About 10mm is ideal.
Mounting plate
Focus distance scale
All the lenses featured in

this group have sturdy metal
mounting plates, rather than the
plastic mounts that are tted to
some cheap lenses.
This is an advantage because

it enables you to manually set
the hyperfocal distance, for
maximum depth of eld in
landscape photography.
imes are hard when your

back is quite literally up
against the wall and you
still cant squeeze everything
into the frame. Its a common
problem when shooting interiors,
and carries through to the great
outdoors, where a sweeping vista
can be severely cropped.
It all boils down to the lens. The
18-55mm or 18-105mm kit models
supplied with most Nikon D-SLRs
(such as the D3300, D5300 and
D7100) have effective zoom ranges
of 27-82.5mm and 27-157.5mm
respectively. Thats because of
the 1.5x crop factor of DX-format
Nikon cameras, which have APS-C
(Advanced Photo System Classic)
sensors. Theyre smaller than the
IXOOIUDPHVHQVRUVWWHGWRWKH
D700 or D4, which are the same
VL]HDVDIUDPHRIPPOP
On DX Nikons, an equivalent focal
length of 27mm gives reasonably
good wide-angle coverage but can
be a little limiting.
At the telephoto end, using FX
(full-frame) lenses on DX cameras
can be a big bonus. The crop factor
plays into your hands, turning
a 300mm lens into one with an

effective focal length of 450mm.
The tables are turned at the wideangle end, where FX lenses with
even the shortest focal lengths lose
more than a little something in
translation. For example, an 18mm
FX lens on a full-frame camera will
give an extremely wide angle of
view. But on a DX camera it will
only be about 65 degrees from
side to side, or 75 degrees from
corner to corner.
Zooming in
DX-format ultra-wide lenses
generally need to be designed
VSHFLFDOO\IRU$36&FDPHUDV
and arent compatible with fullframe SLRs. The rear element
extends further into the camera,
enabling ultra-wide DX zoom
lenses to give a typical range
of about 10-20mm or 10-24mm.
At 10mm, the effective focal
length is 15mm and the angle
of view is much more impressive,
at 105 degrees on the diagonal.
Zoom lenses are much more
popular for ultra-wide shooting
on DX cameras, to the extent that
JARGON BUSTER
Hyperfocal distance
This is the focus
distance setting at which
everything in a scene
will be rendered sharp,
from half the hyperfocal
distance to innity.
It varies according to
the focal length or zoom
setting, and the aperture.
Ring-type ultrasonic
Most upmarket AF-S
(Silent Wave) lenses
contain two large rings
driven at an ultrasonic
frequency. Lenses with
more basic ultrasonic
AF systems are slower,
noisier and dont have
WorldMags.net
ultra-wide prime lenses are almost

LPSRVVLEOHWRQG+RZHYHUZHYH
included the Samyang 14mm
prime lens. Its the only lens in
the group thats designed for fullframe cameras, but still gives an
impressively short effective focal
length of 21mm on DX cameras.
The diagonal angle of view is 114
degrees (FX) or 92 degrees (DX).
Zoom lenses are convenient,
and reduce the frequency with
which you need to change lenses
on your camera. In the ultra-wide
DX class, most lenses have a 2x
zoom range of 10-20mm, whereas
the Nikon and Tamron lead the
HOGZLWKD[UDQJHRI
24mm. Most photographers tend
to use ultra-wide lenses at or near
their widest zoom settings most of
WKHWLPH+RZHYHUWKHUHVDORWWR
be said for shooting at 18mm with
one of these lenses, in preference
to a standard kit zoom lens,
because barrel distortion is
generally less pronounced.
The majority of ultra-wide
lenses on the market have
rectilinear optics. This means
that if you were to shoot a sheet
STEP BY STEP Optimise your lens

Protect your lens to get the best results from it
INTRODUCTION
CAMERA SKILLS
02 Go for petals
03 Use a tripod
The convex front element protrudes noticeably

and can be scratched easily. Protect it by tting
a UV lter. Low-prole versions, such as the
Hoya Pro1 Digital, help avoid vignetting when
youre shooting at large aperture settings.
Almost all ultra-wide lenses have internal

focusing, which means the front element
doesnt rotate. This enables the use of a highly
effective ower-shaped hood, crucial for
reducing ghosting and are in outdoor shots.
For careful composition of shots, you cant

beat a tripod. Contrary to what youd do with
a standard or telephoto lens, position the lens
between two of the tripod feet. This avoids a
tripod foot sneaking into the the image.
Ahead of the curve

7KHUHDUHWZRW\SHVRIVKH\H
lens, circular and diagonal.
The former produces a circular
LPDJHWKDWRQO\OOVWKHFHQWUDO
part of the image sensor, whereas
to creative effect. For example, you

could artistically distort the shape
of three-dimensional subjects, or
make tall buildings on a skyline
appear to lean in towards each
other dramatically.
Yet another bonus is that when
youre shooting at really short focal
lengths, you can get an enormous
GHSWKRIHOGHQDEOLQJ\RXWRNHHS
both close foreground subjects and
distant background objects sharp
within an image. For example,
if you shoot at 10mm with an
aperture of f/11 and manually set
the focus distance to its hyperfocal
setting of 45cm, everything

in the frame will be sharp from
just 22.5cm away, all the way
WRLQQLW\
When it comes to autofocus,
the Nikon lens and all the Sigmas
in this group feature ring-type
ultrasonic systems. These deliver
super-fast, practically silent
autofocusing complete with
By contrast, the Tamron and
Tokina lenses use conventional
electric motors, which are slower
and noisier. The Samyang has no
autofocus at all, so focusing is
a strictly manual affair.
Our tests are carried out under fixed conditions

using industry-standard tools and procedures
We ran lab tests on each lens,
to check optical performance
across the aperture and zoom
ranges. Shots were taken under
controlled conditions, with studio
lighting and charts. Images were
then processed using Imatest
Master and DxO Analyser, to give
results for resolution (sharpness),
distortion and chromatic
aberration (colour fringing).
For real world tests, we used
the lenses in a range of scenarios,
from dull interiors to sunny

landscapes. We checked for
good handling characteristics,
the speed and precision of the
autofocus and the accuracy
andconsistency with which
exposure metering was achieved
inconjunction with Nikon D-SLR
camera bodies. We also looked
for goodimage contrast, and
checkedthe resistance of lenses
to ghosting and flare when
shooting into the light.
Our resolution tests have been adapted this time around, to cope with the
extreme angles of view of these lenses. For this roundup, weve swapped
our regular ISO 12233 target for Imatests SFR Plus chart.
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VIDEO GUIDES
GLDJRQDOVKH\HVSURMHFWDODUJHU
image circle that covers the whole
frame. Weve included the Tokina
PPVKH\H]RRPLQWKLV
JURXSZKLFKLVDGLDJRQDOVKH\H
and gives full coverage on an
APS-C sensor throughout its
zoom range.
Whether its rectilinear or
curvilinear, any ultra-wide lens
is brilliant for exaggerating
perspective. Shoot an object or
person from close up and the
background will appear to fall
away at a much greater rate than
when you shoot with a standard
lens. You can use this phenomenon
ESSENTIAL KIT
You could artistically distort the shape

of three-dimensional subjects, or make tall
buildings on a skyline appear to lean in
HOW WE TESTED
NIKON SOFTWARE
of paper from head on, its sides

should be as straight as possible in
the resulting image. An alternative
LVDVKH\HOHQV7KHVHKDYH
curvilinear optics that produce
a pronounced distortion effect.
In the same paper test, the sides
of the sheet would look as though
they were bowing outwards.
NIKOPEDIA
01 Fit a UV lter
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Samyang 14mm f/2.8

IF ED UMC 330, $355
Tamron 10-24mm
f/3.5-4.5 SP AF 360, $499
One of the cheapest ultra-wide lenses on test, and

it shows when you analyze optical performance
One of the cheapest ultra-wide zooms that you

can buy, with decent performance possible
$WUVWJODQFHDSULPH
lens with no autofocus
and an aperture ring at its
base looks like a dinosaur.
Sure enough, you have to set
the Samyangs aperture to
f/22 for use on Nikon D-SLRs,
after which apertures are set
via the camera. But the lack
of autofocus isnt as major a
problem as you might think.
With ultra-wide lenses,
the focus position isnt critical
EHFDXVHWKHGHSWKRIHOGLV
so large. Even when depth
RIHOGLVUHGXFHGZKHQ
youre shooting close in at the
impressively large maximum
aperture of f/2.8, you still
JHWIRFXVFRQUPDWLRQE\
Five years ago, the

main contenders on
the ultra-wide zooms market
were the Sigma 10-20mm
and Tamron 11-18mm
lenses. While the Sigma is
still available, Tamron has
upped its game with a newer
10-24mm lens that rivals the
Nikon in terms of zoom range.
The Tamron is quite light but
IHHOVDOLWWOHLPV\FRPSDUHG
with most lenses in this test.
A few luxuries are lacking,
such as the way the focus
distance scale is only printed
on the end of the focus ring,
rather than beneath a viewing
window. Autofocus is based
on a slightly sluggish but fairly
Most of our test shots required -1EV

exposure compensation before the
brightness looked right
way of the autofocus light in

WKHYLHZQGHU
Performance
The 14mm focal length is
impressive but the effective
21mm on APS-C cameras is
less so. In our tests, images
were usually overexposed by
as much as a full stop (+1EV),
requiring hefty amounts of
compensation to be dialled in.
Disappointingly for a
prime lens, barrel distortion
is noticeable. Optical quality is
pretty good but the Samyang
is only worth considering if
youre on a tight budget.
quiet conventional motor, so

theres no full-time manual
focus override available.
Performance
The Tamron frequently
overexposes shots at the
10mm end of the zoom range,
usually requiring exposure
compensation. At a 20mm
focal length, exposures are
mostly accurate. Theres
a slight lack of sharpness
at the largest apertures,
but performance improves
between f/8 and f/11. Good
results are possible, but watch
the exposure settings.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
OVERALL
WE SAY We can live without

autofocus but the overexposure
anddistortion are disappointing.
This sunny scene required exposure

compensation of -2/3EV at 10mm, but
none at a 24mm focal length
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WE SAY Image quality is pretty

good but be prepared to apply some
exposure compensation.
INTRODUCTION
CAMERA SKILLS
With its constant aperture, the updated Sigma

10-20mm is new but not necessarily improved
2QHRIWKHUVWXOWUD
wide zooms designed
for APS-C cameras, Sigmas
original 10-20mm has stood
the test of time. It might lack
the constant aperture of the
newer version but its lighter
in weight, has a more typical
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easier on the wallet.
Despite its price, the lens
boasts ring-type ultrasonic
autofocus and comes with
Sigmas usual extras, including
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good-quality carrying pouch.
Overall build quality is high,
and a match for the bigger,
constant-aperture Sigma
10-20mm. Both editions of
Unlike Sigmas original

10-20mm zoom, this
has a constant aperture of
f/3.5, so the top aperture is
f/3.5 across the zoom range.
This makes it a little more
than one stop faster than the
f/4-5.6 lens at 20mm, for faster
low-light shutter speeds. The
f/3.5 is also 50g heavier, and
has a larger front element to
let in more light. Most lenses
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thread, but this Sigma needs
ODUJHUSULFLHUPPOWHUV
Performance
This is one of the sharpest
lenses in the group, even
at the maximum available
apertures of f/4-5.6. Theres
plenty of image contrast,
and autoexposure values are
consistently accurate in any
light. Some lenses, such as
the Samyang, are poor in this
respect. Distortions are slightly
more noticeable than with
Sigmas 10-20mm f/3.5 lens,
but its a great buy at the price.
Performance
Like the other Sigma lenses
on test, this one features fast,
quiet and accurate ring-
type ultrasonic autofocus,

complete with full-time
manual override. And, as
is the case with all but the
Samyang and Tamron lenses
on test here, the focus distance
scale is neatly tucked away
beneath a viewing window.
All in all, the Sigma feels
well engineered to use,
with good handling.
We found that distortions
were particularly well
controlled. In our tests,
though, sharpness wasnt
quite as good as it was with
the older Sigma 10-20mm lens,
which is also cheaper.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
OVERALL
WE SAY Compact yet sturdily

built, with very good optical
performance at the price.
Sharpness isnt great at the maximum

aperture, but this image, taken at f/11,
isnice and crisp
WorldMags.net
WE SAY The faster low-light

shutter speeds are the main benefit
over the original Sigma 10-20mm.
VIDEO GUIDES
Image quality is impressive throughout

the zoom range, with photos looking
sharp no matter what aperture is used
the lens carry Sigmas EX

designation, denoting superior
build and optical quality.
ESSENTIAL KIT
Despite new competition, Sigmas old faithful

still offers great value for those on a budget
NIKON SOFTWARE
Sigma 10-20mm f/3.5

EX DC HSM 400, $650
NIKOPEDIA
Sigma 10-20mm f/4-5.6

EX DC HSM 350, $399
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Tokina 10-17mm f/3.5-4.5 Sigma 8-16mm f/4.5-5.6

AT-X107 DX 530, $600
DC HSM 550, $650
Buck the trend with some extreme distortion,
using the only Nikon-compatible fisheye lens
When youre dealing with angles of view this

wide, sharpness has to give at some point
Out on its own, this is

WKHRQO\VKH\H]RRP
available for Nikon cameras.
You can go wild with extreme
barrel distortion for really
funky images, the effect being
most pronounced at the 10mm
end of the zoom range. As is
W\SLFDORIVKH\HOHQVHVLWV
considerably smaller than
regular ultra-wide zooms,
and weighs a mere 350g.
The built-in hood doesnt allow
OWHUVWREHWWHGZKLFKZRXOG
cause massive vignetting.
But, as with all Tokina lenses,
overall build quality is great.
2QHEHQHWRIWKHVKH\H
effect is that you get a full
180-degree angle of view at
This is the widestangle rectilinear lens

available. Like all but the
Samyang in this group, its
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APS-C cameras, on which it
has an effective shortest focal
length of 12mm. This gives a
huge diagonal angle of view
of 115mm, enabling you to
shoehorn in more of a scene.
+HOSLQJWRGHOLYHURQWKH
extra-wide-angle potential,
the lenss front element is
particularly bulbous, and
WKHRZHUVKDSHGKRRGLV
EXLOWLQ7KHOHQVFDSWVYLD
a secondary, circular hood,
which also contains a 72mm
OWHUWKUHDGDURXQGLWVIURQW
Angles of view are extreme but come

with massive sheye distortion, if thats
the effect youd like to start using
the 10mm zoom setting, which

drops off to a still considerable
100 degrees at 17mm.
Performance
Despite the conventional
motor, autofocus is fast, if a
little noisy. Its normally not
an issue, because focusing will
usually be in the tiny fraction
of the range that covers 0.4m
WRLQQLW\6KRWVDUHRIWHQ
severely overexposed, but
image quality is good and,
FRQVLGHULQJWKDWVKH\HOHQVHV
usually capture a lot of sky, the
Tokinas resistance to ghosting
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edge. The upshot is that you

FDQRQO\DWWDFKOWHUVDWWKH
longest zoom setting, or youll
get extreme vignetting.
Performance
Sharpness is disappointing
at the extreme edges of the
frame, and at the centre at the
largest available apertures. But
its quite acceptable between
f/8 and f/16. Barrel distortion
is also quite pronounced at the
shortest focal length of 8mm,
but is well contained in the
12-16mm sector. This is a good
buy if you want to go extra
large on your viewing angles.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
OVERALL
WE SAY Quality is good all round,

but its a pricey lens, and the fisheye
novelty can soon wear off.
We had to stick with an aperture setting

between f/8 and f/16 to achieve good
edge-to-edge sharpness
WorldMags.net
WE SAY This is as wide as it gets

for APS-C cameras, but you wont be
able to use filters.
INTRODUCTION
CAMERA SKILLS
If you can afford a bigger budget, this lens is

big on both zoom facilities and features
7KH1LNRQWYHUVLRQ
of Tokinas original
12-24mm lens lacked an
autofocus motor. So, on
bodies that didnt have an
internal AF drive, it could
only be used in manual focus
mode. The updated Mark II
edition puts that right with a
built-in motor, so autofocus is
available with any Nikon body.
Other improvements include
new multi-coatings that aim to
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Like the Sigma 10-20mm
f/3.5 lens, this has a constant
aperture, so the maximum
aperture of f/4 is available
throughout the zoom range.
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With a zoom range of

10-24mm, equalled
only by the Tamron lens,
this is a worthy successor
to Nikons older 12-24mm
lens. It provides a wider angle
of view at its shortest focal
length, and build quality feels
robust, with silky-smooth
zoom and focus rings.
The lens features two
ED (Extra-low Dispersion)
elements to ensure excellent
sharpness and contrast, and
the ring-type AF-S autofocus is
super-fast and highly accurate.
Performance
Whereas the Samyang,
Tamron and Tokina 10-17mm
lenses all have a tendency to
overexpose images, this lens
often underexposes by a third
to a half of a stop. Autofocus
is fast but noisy, based on an
electric motor. Theres no fulltime manual focus override,
but you get a push-pull action
for switching between auto
and manual focus quickly.
Performance
focal length extends through

the zoom range. For an ultrawide zoom, the Nikon proved
remarkably sharp at its largest
apertures in our tests, and
there was little vignetting,
making it great for handheld
shooting in dull light.
From low-lit indoor shots to
sunny landscapes, the Nikon
gives extremely accurate
exposures throughout its
zoom range. Distortions are
a little more noticeable than
with some lenses. But, then
again, these can be tuned out
automatically with Nikons
latest D-SLRs.
The largest available aperture

shifts from f/3.5 to f/4.5 as the
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
OVERALL
WE SAY Good build quality, but

the lens isultimately a bit lacking in
its ultra-wide field of view.
Plenty of detail shows up in images, and

exposures are spot-on with practically
every shot
WorldMags.net
WE SAY Its the most expensive

lens in the group but is well worth
the extra expenditure.
VIDEO GUIDES
Images can be a bit on the dark side,

needing about +0.5EV exposure
compensation to be dialled in
equivalent focal length on

APS-C cameras is 18mm. Most
competing lenses offer a 15mm
effective focal length.
ESSENTIAL KIT
The Mark II is a better bet for Nikon users than

the first Tokina 12-24mm lens, adding autofocus
NIKON SOFTWARE
Nikon 10-24mm f/3.54.5G ED AF-S DX 640, $780
NIKOPEDIA
Tokina 12-24mm f/4 ATX124 PRO DX II 440, $400
INTRODUCTION
LAB TESTS IN FULL VIEW

Nikon 10-24mm f/3.5-4.5G
AF-S DX ED
SHARPNESS
NIKOPEDIA
CAMERA SKILLS
Find out how the ultra-wide lenses on test compare

our detailed lab results separate the best from the worst
Outright sharpness is best at the crucial

ultra-wide focal lengths, and remains
consistent throughout the aperture range.
LAB TEST AT f/8
LAB TEST AT f/8
FRINGING
Theres a lack of sharpness, especially at

the 8mm end of the range, where you need
to be between f/8 and f/16 for good results.
LAB TEST AT f/8
Sigma 10-20mm f/3.5

EX DC HSM
In the wider half of the zoom range,

sharpness is only good from f/8 to f/11. Its
disappointing at large or small apertures.
LAB TEST AT f/8
1681
Sharpness at 14mm
2239
Sharpness at 8mm
1643
Sharpness at 10mm
1919
Sharpness at 15mm
1766
Sharpness at 12mm
1763
Sharpness at 14mm
1728
Sharpness at 24mm
1488
Sharpness at 16mm
1935
Sharpness at 20mm
1951
14MM f/8
Fringing is only slightly noticeable in

the10-15mm zoom range. At longer focal
lengths, chromatic errors are negligible.
LAB TEST AT f/8
16MM f/8
Colour fringing is only noticeable when

youre shooting at the largest aperture
off/2.8, at the edges of theframe.
LAB TEST AT f/8
20MM f/8
Performance is reasonable throughout

the range. At mid to long focal lengths,
fringing diminishes with smaller apertures.
LAB TEST AT f/8
Chromatic aberration is most noticeable

at each end of the zoom range, but is fairly
well controlled between 14 and 18mm.
LAB TEST AT f/8
Fringing at 10mm
0.33
Fringing at 14mm
0.07
Fringing at 8mm
0.28
Fringing at 10mm
0.34
Fringing at 15mm
0.35
Fringing at 12mm
0.06
Fringing at 14mm
0.3
Fringing at 24mm
0.96
Fringing at 16mm
0.11
Fringing at 20mm
0.22
10MM f/4.5
DISTORTION
NIKON SOFTWARE
ESSENTIAL KIT
Performance is poor at f/2.8, but the

Samyang delivers impressive sharpness by
f/4, and only really drops off again at f/22.
Sigma 8-16mm f/4.5-5.6

DC HSM
Sharpness at 10mm
24MM f/8
14MM f/4.5
Distortion is well controlled overall,

although barrel distortion is clearly visible
at the 10mm focal length.
LAB TEST AT f/8
VIDEO GUIDES
Samyang 14mm f/2.8

IF ED UMC
8MM f/4.5
For a prime lens, barrel distortion is

extreme, and uneven across the frame.
Wed have expected better.
LAB TEST AT f/8
10MM f/4.5
Barrel distortion is clearly visible at

8mm, but drops off at 12mm, switching to
slight pin-cushion distortion at 16mm.
LAB TEST AT f/8
Barrel and pin-cushion distortions are

only visible at the shortest andlongest
extremes of the zoom rangerespectively.
LAB TEST AT f/8
Distortion at 10mm
-3.86
Distortion at 14mm
-4.67
Distortion at 8mm
0.28
Distortion at 10mm
-2.52
Distortion at 15mm
-0.23
Distortion at 12mm
0.06
Distortion at 14mm
-0.27
Distortion at 24mm
-0.81
Distortion at 16mm
0.11
Distortion at 20mm
0.85
IMAGE TEST VERDICT

The Nikon delivers supremely accurate
and consistent metering, and acquits
itself excellently in all aspects of
imagequality.
IMAGE TEST VERDICT

Overall image quality is poor at the
largest aperture of f/2.8, but improves
between f/4 and f/16, although barrel
distortion is disappointing.
IMAGE TEST VERDICT

The Sigma 8-16mm really pushes the
ultra-wide boundaries for a rectilinear
lens. Ultimately, image quality is
slightlycompromised.
WorldMags.net
IMAGE TEST VERDICT

Sharpness could be better at large and
small apertures, especially at ultra-wide
focal lengths, but overall image quality
is respectable.
Sharpness
Sigma 10-20mm f/4-5.6

EX DC HSM
Tamron 10-24mm f/3.5-4.5

SP AF Di II
LAB TEST AT f/8
Theres a drop in sharpness at about

15mm with largest available aperture.
Overall, though, sharpness is good.
Distortion
(scores closest to
0 are best)
Our real-world tests
show how colour fringing affects a
typicalsubject, while the lab tests
provide exact measurements.
Tokina 10-17mm f/3.5-4.5

AT-X107 DX
Nice and sharp, especially for a fisheye.

The Tokina manages to resolve plenty of
detail right into the corners of the frame.
LAB TEST AT f/8
LAB TEST AT f/8
(scores close to
0 are best)
The shots of the
brick wall offer real-life examples,
while the lab tests offer precise
comparisons between lenses.
Tokina 12-24mm f/4

AT-X124 PRO DX II
Sharpness at the centre of the frame is

particularly good at the largest available
apertures down to f/11.
LAB TEST AT f/8
Sharpness at 10mm
2402
Sharpness at 10mm
2403
Sharpness at 10mm
Not tested
Sharpness at 12mm
2079
Sharpness at 14mm
2430
Sharpness at 15mm
2118
Sharpness at 15mm
Not tested
Sharpness at 15mm
2159
Sharpness at 20mm
2124
Sharpness at 24mm
2067
Sharpness at 17mm
268
Sharpness at 24mm
2433
20MM f/8
24MM f/8
LAB TEST AT f/8
Fringing is quite noticeable towards the

corners of the frame when youre shooting
at 10mm, especially with large apertures.
12MM f/8
Colour fringing can be troublesome

where there are high-contrast edges, such
a dark branches against a bright sky.
LAB TEST AT f/8
LAB TEST AT f/8
Chromatic aberration is well controlled,

and fringing is much less evident than
withthe original lens.
LAB TEST AT f/8
Fringing at 10mm
0.24
Fringing at 10mm
0.31
Fringing at 10mm
Not tested
Fringing at 12mm
0.14
Fringing at 14mm
0.25
Fringing at 15mm
0.2
Fringing at 15mm
Not tested
Fringing at 15mm
0.17
Fringing at 20mm
0.41
Fringing at 24mm
0.24
Fringing at 17mm
0.489
Fringing at 24mm
0.14
10MM f/4.5
Barrel distortion is apparent at 10mm,

turning to mild pin-cushion distortion that
remains fairly constant from 14 to 20mm.
LAB TEST AT f/8
10MM f/4.5
Barrel distortion is reasonably well

contained but is present throughout the
zoom range, most evident at 10-15mm.
12MM f/4.5
As youd expect from a fisheye lens,

distortion is off the scale. Its most
pronounced at the 10mm end.
LAB TEST AT f/8
LAB TEST AT f/8
Barrel distortion is only modest at the

12mm focal length. Theres practically no
distortion at 24mm.
LAB TEST AT f/8
Distortion at 10mm
-3.06
Distortion at 10mm
-2.6
Distortion at 10mm
Not tested
Distortion at 12mm
-2.55
Distortion at 14mm
1.11
Distortion at 15mm
-2.34
Distortion at 15mm
Not tested
Distortion at 15mm
-1.18
Distortion at 20mm
0.979
Distortion at 24mm
-1.63
Distortion at 17mm
-15.4
Distortion at 24mm
0.04

Overall image quality is hampered
bythe Tamrons frequent tendency to
overexpose shots. Apart from this, its
good at the price.
Image quality is pleasing, but you need

to watch out for overexposure. Note that
the fisheye design meant we could not
test at focal lengths other than 17mm.
WorldMags.net
Its quite an expensive lens to buy and

lacks a little width in its maximum angle
of view. Image quality is good in every
respect though.
VIDEO GUIDES
IMAGE TEST VERDICT

Image quality proved impressive in our
lab tests, especially for sharpness at
large apertures, where its the best
Sigma lens in the group.
ESSENTIAL KIT
10MM f/4.5
NIKON SOFTWARE
Theres quite a lot of fringing towards

the image corners at 10mm, especially in
the f/8 to f/22 aperture range.
10MM f/8
NIKOPEDIA
Sharpness is impressive, even at large

apertures, where the lens outperforms
Sigmas pricier 10-20mm f/3.5 model.
Fringing
CAMERA SKILLS
We checked three main

aspects of performance to
assess each lenss abilities
(high scores
are better)
For these ultra-wideangle optics, we used the Imatest SFR
Plus chart and analysis software to
calculate resolution data.
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT

COMPARISON TABLE
Tamron 10-24mm
f/3.5-4.5
Sigma 10-20mm
f/4-5.6
Sigma 10-20mm
f/3.5
Tokina 10-17mm
f/3.5-4.5
Sigma 8-16mm
f/4.5-5.6
Tokina 12-24mm
f/4
Nikon 10-24mm
f/3.5-4.5G
samyang-lens.co.uk
tamron.com
sigmaphoto.com
sigmaphoto.com
tokinalens.com
sigmaphoto.com
tokinalens.com
nikon.com
HOW THE
WIDE-ANGLE
LENSES COMPARE
WEBSITE
STREET PRICE
330, $355
360, $499
350, $399
400, $650
530, $600
550, $650
440, $400
640, $780
LENS TYPE
Rectilinear prime
Rectilinear zoom
Rectilinear zoom
Rectilinear zoom
Diagonal fisheye zoom
Rectilinear zoom
Rectilinear zoom
Rectilinear zoom
DX/FX
FX
DX
DX
DX
DX
DX
DX
DX
MIN FOCUS DISTANCE
28cm
24cm
24cm
24cm
14cm
24cm
30cm
24cm
MIN APERTURE
f/22
f/22-29
f/22-32
f/22
f/22-29
f/22-29
f/4-22
f/22-29
EFFECTIVE FOCAL LENGTH (DX)
21mm
15-36mm
15-30mm
15-30mm
15-25.5mm
12-24mm
18-36mm
15-36mm
ANGLE OF VIEW (DIAGONAL)
114 (FX) 92 (DX)
108-60
102-64
102-64
180-100
115-76
99-61
109-61
AUTOFOCUS MOTOR TYPE
Manual focus only
Standard motor
Standard motor
Standard motor
FILTER SIZE
None
77mm
77mm
82mm
None
72mm
77mm
77mm
LENS HOOD
Built in
Included
Included
Included
Built in
Built in
Included
Included
DIMENSIONS (DIAMxLENGTH)
92x86mm
83x87mm
84x81mm
87 x 88mm
70x71mm
75 x 106mm
84x89mm
83x87mm
WEIGHT
555g
406g
470g
520g
350g
555g
540g
460g
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL

Use these tips and tricks to get the best out of your ultra-wide lens
Into the light
Big expanses of bright sky are a

common feature of ultra-wide shots. Keep
WKHIURQWHOHPHQWRU89OWHUFOHDURIVSHFV
of dust or drops of rain to reduce ghosting.
Mind your feet
Its easy to get your feet in the bottom

of the image, especially when
shooting in portrait
(upright) orientation.
Review images on
your cameras LCD
to double check.
VIDEO GUIDES
Samyang 14mm
f/2.8
Slow it down
With equivalent
focal lengths of as
little as 15mm, you
can safely shoot
handheld at 1/15
sec without worrying
about camera-shake,
even without Nikons
Vibration Reduction.
152 The Ultimate Nikon SLR
In at the deep end
Manually setting the hyperfocal

distance is great for ensuring front-to-back
sharpness in landscape scenes. Check out
www.dofmaster.com to calculate the settings
for your camera and lens.
Back to basics
Due to the wide angle of view,

FLUFXODUSRODULVLQJOWHUVFDQEHSUREOHPDWLF
on ultra-wide lenses, as the effect will
vary in intensity across the image.
Doors to manual
7RFRQWUROGHSWKRIHOG
Aperture Priority shooting
mode works well, enabling you
to easily set the aperture you
want to use.
Sweet spot
The sweet spot

of lenses, at which they give
optimum image quality, is
usually at an aperture of
WorldMags.net
between f/8 and f/11, so use these settings

to ensure best results.
On the edge
Roll out the barrel
10
Trial and error
Vignetting, which means the

darkening of the image corners, is usually
most noticeable when you combine the
largest available aperture with the most
wide-angle zoom setting. Reducing the
aperture by a couple of stops will normally
[WKHSUREOHP
Barrel distortion is common in

ultra-wide shooting, but you can reduce
its appearance at the editing stage, using
a program such as Photoshop Elements.
Some of the lenses on test give

incorrect exposure settings using the
cameras metering system. Therefore,
it pays to check the results and then
reshoot with positive or negative
exposure compensation if necessary.
THE WINNER IS...
CAMERA SKILLS
Nikon 10-24mm
f/3.5-4.5G AF-S DX ED
Nikon has it all sewn up when it comes to
ultra-wide performance on APS-C cameras
The cheaper options
Whats good Wide zoom range, and excellent

quality in any shooting scenario.
Whats bad The price, plus slight fringing at
10-15mm zoom, and barrel distortion at 10mm.
Our verdict If youve got a bigger budget, this
lens cant be beaten in terms of image quality.
OVERALL
Whats good Very capable performance, and

impressive build quality at the price.
Whats bad Cant quite match the Nikon for
zoom range or image contrast.
Our verdict A brilliant buy at the price its
almost half the price of the Nikon.
Whats good Matches the Nikons 2.4x zoom

range, and is cheap to buy.
Whats bad Basic autofocus motor and exposure
accuracy can be inconsistent.
Our verdict A good budget option, but features
and build quality feel a bit downmarket.
Whats good Puts the ultra into ultra-wide,

with a massive 115-degree angle of view.
Whats bad Not the sharpest tool in the box, and
you cant use filters at wide zoom settings.
Our verdict Youre paying a hefty premium for
that extra 2mm at the wide-angle end.
OVERALL
OVERALL
OVERALL

WorldMags.net
VIDEO GUIDES
Tamron 10-24mm f/3.5-4.5 Sigma 8-16mm f/4.5-5.6

DC HSM
SP AF Di II
ESSENTIAL KIT
Sigma 10-20mm f/4-5.6

EX DC HSM
NIKON SOFTWARE
The only sticking point with the Nikon is

that its by far the most expensive lens in the
group. For a more modest outlay, both Sigma
10-20mm lenses offer advanced features, but
the older f/4-5.6 version is particularly

good value. The Tamron 10-24mm is
the cheapest zoom lens in the group, but
suffered from exposure inconsistencies in
our tests and lacks the Sigma lenses ringtype ultrasonic autofocus.
For maximum wide-angle coverage, the
Sigma 8-16mm is a tempting proposition,
but image quality isnt quite as good as with
the two Sigma 10-20mm lenses. Another
DOWHUQDWLYHLVWKH7RNLQDPPVKH\H
lens, which gives the widest angle of view
LQWKHJURXS%XWWKHVKH\HHIIHFWLVPRUH
of an oddity than something that will
appeal on a regular basis. At the other end
of the scale, the angle of view offered by
the Samyang 14mm and Tokina 12-24mm
lenses are disappointing, and the Samyangs
distortion is pronounced, especially given
that its a prime lens rather than a zoom.
NIKOPEDIA
For reliable, consistent, top-quality

results in practically any conditions,
the Nikon 10-24mm is a clear winner.
Sharpness is excellent even at the largest
aperture, and images have bags of contrast,
HYHQZKHQOLJKWLQJFRQGLWLRQVDUHDWDQG
gloomy. The ring-type AF-S autofocus
system is superbly fast, practically inaudible
in operation and comes complete with fulltime manual focus override. Build quality is
a good match for Nikons top APS-C cameras,
such as the D7100 and D300s, yet the lens
still feels well balanced on lightweight
bodies such as the D3300.
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
WorldMags.net
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
LENSES
One size fits all? With their colossal zoom ranges, superzooms offer
unparalleled versatility. We put eight Nikon-fit options to the test
WorldMags.net
INTRODUCTION
WorldMags.net
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
THE CONTENDERS
1 Tamron 18-200mm f/3.5-6.3 Di II Macro 132, $200
2 Sigma 18-200mm f/3.5-6.3 II DC OS HSM 240, $300
3 Sigma 18-250mm f/3.5-6.3 DC OS HSM 300, $350
4 Tamron 18-270mm f/3.5-6.3 Di II VC PZD 330, $450
6 Nikon 24-120mm f/3.5-5.6G AF-S IF-ED VR 450, $860

7 Nikon 18-200mm f/3.5-5.6G AF-S DX ED VR II 590, $597
8 Nikon 28-300mm f/3.5-5.6G AF-S ED VR 660, $1047
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5 Tamron 28-300mm f/3.5-6.3 XR Di LD VC Macro 515, $750
INTRODUCTION

EQUIPMENT KNOW-HOW

Front element
DX or FX?
Image stabilisation
Front elements that dont rotate during focusing

enable the use of highly efcient, petal-shaped
lens hoods, and are much easier to use with
circular polarizers.
On an APSC-format camera, youll need to

use a DX lens if you want to maximise wideangle potential. But full-frame lenses can
give you an extra boost if telephoto reach is
most important.
The various optical stabilisation systems

(such as Nikons Vibration Reduction) are great
to have on superzoom lenses, where handheld
shooting without a tripod is the norm.
Zoom range
Autofocus
Mounting plate
In terms of versatility, a bigger zoom range is

better. However, it can come at the expense of
poorer image quality, with impaired sharpness
and more distortion.
Ring-type ultrasonic is the fastest and

quietest type of autofocus system, with
ultrasonic motors lagging behind and basic
electronic models bringing up the rear.
Apart from the Tamron 18-200mm, all the

lenses in this group have metal mounting
plates rather than plastic ones. These tend to
be more robust and longer lasting.
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NIKON SOFTWARE
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Some of the finer points to consider before making your superzoom decision
main attraction of any

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the ideal lens for pretty
much any shooting scenario.
But this practice isnt without its
pitfalls. Most of us are rightly
concerned about swapping lenses
in dusty environments, dumping
dirt into the camera body that can
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opportunities, theres always the
risk that the moment will have
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and taken aim.
There are also times when
you might need to travel light,
and its not just about baggage
allowances when youre going
on holiday. Anything from city
wanderings to countryside rambles
and hill-climbing can become an
arduous challenge when youve
got a big bag stuffed with heavy
lenses hanging off your shoulder.
Wouldnt it be nice if you could just
carry a single lens that answered

almost every photographic need?
Enter the superzoom.
The whole idea of these lenses
is that they deliver everything
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to serious telephoto reach, all
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There are two main types those
designed for APSC-format cameras
from the D3100 to the D300s, and
full-frame lenses for bodies such as
the D700 and D4. Nikon calls these
two types DX and FX lenses
respectively. With Sigma, its DC
and DG, and for Tamron its Di
II and Di. But if youre using an
APSC-format camera you neednt
let lens type be the deciding factor;
full-frame lenses are compatible
with smaller-sensor bodies.
If you want a really wide-angle
focal length on an APSC-format
body, youll need an APSC-format
lens. Once you take the 1.5x crop
factor into account, an 18mm focal
length effectively becomes 27mm.
JARGON BUSTER
Focal length
The actual focal length
(measured in millimetres)
is always quoted on
lenses, regardless of
whether theyre DX (APSC)
or FX (full-frame) models.
For shooting on
APSC-format cameras,
apply the 1.5x crop factor in
both cases to get the
effective focal length.
Internal focus
This simply means that
the focus mechanism is
internal, so the overall
length of the lens doesnt
increase or decrease with
focus adjustments.
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However, a lens such as the Nikon

24-120mm still equates to 36mm
at its widest zoom setting, which is
practically identical to the 35mm
focal length of a wide-angle lens.
Sure, the maximum effective
telephoto reach of 180mm isnt all
that impressive either, but thats
not the whole story.
A ne balance
The bigger the zoom range, the
more image quality is likely to be
compromised. Outright sharpness
might be impaired, and distortions
are likely to be more noticeable. So
while a lens such as the Tamron
18-270mm gives a class-leading
15x zoom range, equivalent to 27405mm, you push the boundaries
of whats possible when you also
demand high optical quality.
Naturally, if youre not too
fussed about wide-angle shooting,
a full-frame 28-300mm lens goes
extra large on telephoto reach
ZKHQWWHGWRDQ$36&IRUPDW
STEP BY STEP Hold it steady

Fend off camera-shake with a natural grip
INTRODUCTION
CAMERA SKILLS
02 Portrait technique
03 Added support
Rest the base of the camera on the palm of your

left hand and cup the lens gently in your ngers.
Keep your left elbow tucked in and, if youre
crouching for a low shot, rest your right elbow
on your knee for added support.
For upright handheld shots, rotate the camera

counter-clockwise so that the shutter release
button is uppermost. This enables comfortable
yet rm left-handed support, just as you had
when shooting in landscape orientation.
A monopod gives stability without the need for a

tripod. A ball-and-socket head enables you to
shoot in portrait as well as landscape. For the
former, rotate the camera clockwise to avoid
unscrewing it from the mount.
Compensation). All competing

systems have a microprocessorcontrolled group of lens elements
that senses vibration and attempts
to cancel it out by moving the
group. Its worth having, as you
get sharp shots quite consistently
at shutter speeds up to three or
four stops slower than you would
without stabilisation.
Keep the noise down

Speed and accuracy are also
critical factors when it comes to
autofocus. All the Nikon lenses on
test have fast, whisper-quiet, ring-
type ultrasonic systems. These

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full-time manual focus override in
Single-AF mode.
basic electric motors are sluggish
and noisy, as shown by the Tamron
18-200mm and 28-300mm lenses.
All other lenses on test are based
on ultrasonic motors. Unlike ringtype ultrasonic systems, these
arent much faster than basic
electric motors, although they are
quieter. Theyre not as near-silent
as ring-type systems, though,
because gear wheels are still used
to drive the autofocus.
Our expert test team reveal the rigorous criteria

they used to rate the superzooms in our roundup
We tested these lenses in both
real-world and lab shooting
conditions, looking for good build
quality and handling as well as
smooth zoom and focus rings. We
also tested autofocus speed and
accuracy, resistance to ghosting
and flare, and image stabilisation.
We then ran a full range of lab
trials under controlled
conditions, using the Imatest
Master and DxO Analyser suites.
Photos of test charts were taken
across the range of apertures and

focal lengths of the lenses and
analyzed for sharpness,
distortion and chromatic
aberration. You can see our image
quality lab test results on pages
162 and 163, but these are
summaries. We also considered
data from a wider range of
apertures and zoom settings.
Finally, we combined the lab
tests and real-world shooting
results to get Overall verdicts.
Our sophisticated lab tests use a combination of optical resolution

charts and mathematical analysis to deliver precise resolution gures
across a range of apertures and focal lengths
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VIDEO GUIDES
unless you resort to increasing the

sensitivity setting of your camera.
All other lenses on test are even
slower at f/6.3 under anything
other than bright sunlight, camerashake can be a big problem.
If you want to travel light with
just a superzoom on your camera,
lugging a tripod around defeats
the object. Instead, try handheld
shooting. To fend off camerashake, all but the Tamron 18200mm in the group feature image
stabilisation. Nikon calls its system
VR (Vibration Reduction), Sigma
has OS (Optical Stabilization)
and Tamron has VC (Vibration
ESSENTIAL KIT
There are times when you might need to

travel light, and its not just about baggage
allowances when youre going on holiday
HOW WE TESTED
NIKON SOFTWARE
camera. Even so, the minimum

effective focal length of 42mm is
not wide enough for most of us.
But if youre considering trading up
to a full-frame body in the future,
any full-frame lenses you buy now
will be suitable.
Speed is another issue,
especially when it comes to
maximum aperture. At their
longest telephoto focal lengths,
all Nikon lenses tested here have
a maximum available aperture of
f/5.6. This means that under dull
lighting conditions youll be forced
to use quite a slow shutter speed,
NIKOPEDIA
01 Landscape tips
INTRODUCTION
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Tamron 18-200mm f/3.5- Sigma 18-200mm f/3.56.3 Di II Macro 132, $200 6.3 II DC OS HSM 240, $300
Its one of the oldest superzooms around for
APSC-format cameras, but can it still compete?
New, improved and downsized, the mark II

version of this lens is an easy travel companion
This lens made a splash

when it launched, but
that was in 2005, and its the
only zoom on test without
image stabilisation. Getting
sharp handheld shots is a
challenge, with a maximum
available aperture of only f/6.3
at the longest zoom length.
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originally had no internal
autofocus motor, instead
relying on the in-camera AF
drive featured on upmarket
Nikon bodies. So, there was no
autofocus ability on cameras
such as the D40 and D60 and
subsequent bodies like the
The recently launched

version of this lens is
smaller and lighter than its
predecessor, at 75x88mm and
490g rather than 79x100mm
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been reduced from 72mm
to 62mm, too. The new lens
also gains an FLD (F Low
Dispersion) element. This
is equivalent to top-quality
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transmission and very low
dispersion. Even so, the largest
aperture at the telephoto end is
still a sluggish f/6.3.
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OS (Optical Stabilizer) from
D3100 and D5100. Tamron put

things right in 2008, adding a
basic built-in autofocus motor.
Performance
Autofocus is a little slow,
and quite shrill. Sharpness
isnt great at 18mm, and
drops off slightly between
35-135mm, and more so at
200mm. Distortion is more
disappointing, considering the
relatively modest zoom range.
Barrel distortion is particularly
noticeable at the 18mm focal
length and, unlike with
genuine Nikon lenses, autocorrection isnt available.
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18mm
Performance
Autofocus is fast and quiet,
but its driven by an ultrasonic
motor and the focus ring
rotates during autofocus.
Sharpness isnt as good as with
Nikon lenses at wide-angle and
mid-zoom settings, but instead
of dropping off at maximum
telephoto focal lengths it
increases a little. The Sigma
has the sharpest performance
of any lens in the group at its
maximum zoom stretch.
18mm
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The zoom range is
average but the lack
of stabilisation means
sharp handheld shots
are tricky to achieve
the original lens has been

updated, taking performance
from 2.5 stops to four.
200mm
OVERALL
WE SAY Cheap, but outclassed by
newer competition in terms of both
optical quality and features.
Sharpness is quite
reasonable
throughout most of
the zoom range, and
peaks at 200mm
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200mm
OVERALL
WE SAY Refreshingly compact
and light, but lacking the refinement
you might expect at this price.
INTRODUCTION
CAMERA SKILLS
Putting the super in superzoom, this brings a

class-leading 15x range to DX cameras
Like Sigmas 18-200mm,

also on test, this is a DC
lens for APSC-format cameras.
Both lenses have Sigmas fourstop OS (Optical Stabilization),
and HSM (Hyper Sonic Motor)
autofocus. Unlike many of the
brands more exotic lenses,
the 18-250mm doesnt have
advanced ring-type HSM, but
the motor-driven system is still
fairly speedy and quiet.
Its bigger than the 18200mm, but its easier not to
foul the the focus rings action
while its rotating. You get a
lot more reach at the telephoto
end, equivalent to 375mm.
This lens is far from a

simple revision of its
predecessor. With added PZD
(Piezo Drive) autofocus, its
much smaller and lighter
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has 16 elements rather than
18, a smaller and lighter VC
(Vibration Compensation)
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62mm not 72mm.
Its about the same size and
weight as most 18-200mm
lenses, and 115g lighter
than Nikons. Handling is
assured, but the sluggish f/6.3
maximum aperture at the
telephoto end makes handheld
However, the maximum

available aperture of f/6.3
means the image stabilisation
has its work cut out in
anything other than bright,
sunny conditions.
Performance
Sharpness is adequate at wideangle and mid-range zooms,
on a par with the 18-200mm
lens, but theres a drop at
the longest end of the range.
Fringing can also be noticeable
as you approach the 250mm
focal length. But distortions
are well controlled considering
the extra-large zoom range.
Performance
Autofocus is much quieter
than with the original 18270mms basic motor, but its
no quicker. Sigmas ultrasonic
motors are faster. Sharpness is
disappointing at both ends of
the zoom range, and adequate
in the middle region. Barrel
distortion is also pronounced
at 18mm, switching to pincushion distortion at mid-range
zoom settings. Colour fringing
is also an issue at either end of
the zoom range.
18mm
18mm
250mm
OVERALL
WE SAY A chunky heavyweight at
630g, but its good value with its
generous zoom range.
This Tamron is
unbeatable for sheer
zoom range, but the
optical quality is
disappointing
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270mm
OVERALL
WE SAY A compact lens
considering its 15x zoom range, but
the image quality doesnt match up.
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The extra zoom
range gets you that
little bit closer, and
can make all the
difference to shots
a challenge despite the fourstop stabiliser.
ESSENTIAL KIT
The 13.9x zoom range ensures plenty of reach for

DX cameras, and the price is wallet friendly
NIKON SOFTWARE
Tamron 18-270mm f/3.56.3 Di II VC PZD 330, $450
NIKOPEDIA
Sigma 18-250mm f/3.56.3 DC OS HSM 300, $350
INTRODUCTION
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NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Tamron 28-300mm
f/3.5-6.3 XR Di 515, $750
Nikon 24-120mm f/3.55.6G AF-S VR 450, $860
Tamrons big-hitting superzoom for full-frame

cameras offers a good deal for the money
Nikon has gone for optical quality over zoom

range here, with a compact full-frame lens
A direct competitor to
Nikons full-frame 28300mm lens, the Tamron is
much cheaper. It matches the
Nikon for stabilisation, with
Tamrons four-stop Vibration
Compensation. Its a bit
smaller, too, and some 250g
lighter, although the build
doesnt feel as robust.
7KHOWHUWKUHDGLV
just 67mm, rather than
Nikons 77mm, but with
less light entering the lens
the maximum aperture is a
third of a stop slower at the
telephoto end. As a result, this
pushes the image stabiliser to
Almost exactly the

same size and weight
as Nikons 18-200mm DX VR
lens, this FX counterpart is
appealing, with an impressive
24mm wide-angle and modest
120mm telephoto. While the
5x zoom range only just edges
the lens into the superzoom
category, the widest focal
length is an effective 36mm
on DX bodies. Meanwhile, the
telephoto length translates to
180mm, making it a viable
superzoom for cameras such as
the D3300 or D7100.
One advantage of this lens
over Nikons 18-200mm is
the limit when youre using an

APSC-format camera.
Performance
Impressively, sharpness is on
a par with the more expensive
Nikon 28-300mm at the wideangle end of the zoom range,
and slightly better at midrange and telephoto lengths.
Distortions are fairly well
controlled, although colour
fringing is more noticeable,
especially at frame corners.
The slow autofocus is a bit
of a letdown. Plus, theres a
tendency for it to hunt back
and forth or stop in dull light.
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28mm
Performance
Sharpness is great at the
wide-angle end, excellent at
mid-range and only drops off
a little at the longest focal
length. Theres much less
distortion at the wide-angle
end, compared with several
lenses in the group.
24mm
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Theres plenty of
reach on APSCformat cameras, but
wide-angle coverage
is completely lacking
that it doesnt suffer from any

zoom creep. This is handy if
you want to use a tripod for
shooting at extreme angles.
However, VR is a generation
older, only gives a three-stop
EHQHWDQGODFNVDQ$FWLYH
mode for moving platforms.
300mm
OVERALL
WE SAY A real money-saver for
full-frame camera users, but the
autofocus performance isnt good.
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Fantastic wide-angle
coverage on full-frame
cameras becomes
merely adequate on
APSC-format models
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120mm
OVERALL
WE SAY Gives a super-wide-angle
on full-frame cameras, and is still a
worthy contender for DX bodies.
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CAMERA SKILLS
A big step up in terms of physical size, this fullframe Nikon delivers true telephoto power
The original version of

this lens was a hit. This
mark II version looks almost
identical, but important
updates include a four-stop
optical stabiliser rather than a
three-stop one.
The zoom mechanism
has also been redesigned, as
the original lens was often
criticised for zoom creep
between 24-135mm. The issue
hasnt been cured completely,
but a zoom lock switch at
18mm has also been added.
Two high-performance ED
(Extra-low Dispersion) lens
elements are still present, but
Noticeably larger than

the DX-format lenses
on test, this full-frame model
gives a zoom range thats
almost identical to the effective
27-300mm from 18-200mm
lenses on an APSC-format
body. It has a newer design
than the Nikon 24-120mm
lens, and four-stop Vibration
Reduction with Normal and
Active mode options.
The extra length of the lens
is even more noticeable at full
stretch, but zooming from 28
to 300mm demands a little
effort, as the zoom ring feels
a bit sticky in places. As with
updated lens coatings further

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Performance
Handling outstrips that of any
other DX-format lens on test,
with a silky-smooth focus ring.
The fast, near-silent ring-type
ultrasonic autofocus means
its also the only DX lens on
which the focus ring doesnt
rotate during autofocus, yet
enables full-time manual focus
override. Distortion is quite
pronounced at the 18mm end
of the zoom range but the incamera correction on Nikons
latest bodies combats it well.
18mm
Performance
As with the Nikon 24-120mm
lens, barrel distortion is well
restrained at the widest-angle
zoom setting, and pincushion is similarly low at the
telephoto end. Thats quite an
achievement given the greater
10.7x zoom range. Sharpness
is similarly impressive between
28 and 250mm, but drops off
quite noticeably at 300mm.
28mm
200mm
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OVERALL
WE SAY For any DX-format Nikon
body, you cant buy a better
superzoom than this one.
Big telephoto reach is

a bonus, but this lens
has no wide-angle
potential when you use
it on DX cameras
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300mm
OVERALL
WE SAY With this big camera,
handling still feels well balanced on
chunky full-frame bodies.
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Theres plenty of
contrast on tap with
this lens, which gives
images a really
punchy look
the other Nikons on test, the

ring-type ultrasonic autofocus
system is quick and quiet, and
comes complete with full-time
manual override.
ESSENTIAL KIT
A downsized DX design thats big on quality and

features - this Nikon ticks all the right boxes
NIKON SOFTWARE
Nikon 28-300mm f/3.55.6G AF-S ED VR 660, $1047
NIKOPEDIA
Nikon 18-200mm f/3.55.6G AF-S VR II 590, $597
INTRODUCTION
ZOOM IN ON PERFORMANCE
Nikon 18-200mm
f/3.5-5.6G AF-S DX ED VR II
SHARPNESS
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Find out how the superzoom lenses on test compare our

Excellent throughout almost all of the

zoom range. Theres plenty of sharpness
right into the corners of the frame.
LAB TEST AT f/8
LAB TEST AT f/8
FRINGING
Great performance in the 28-250mm

range, with sharpness dropping off at the
maximum 300mm focal length.
LAB TEST AT f/8
Sigma 18-200mm
f/3.5-6.3 II DC OS HSM
Fairly consistent throughout the zoom

range, sharpness is okay at the centre of
the frame, less so towards the corners.
LAB TEST AT f/8
2311
Sharpness at wide angle
2279
2147
1461
Sharpness at mid range
1265
1479
1459
1194
Sharpness at telephoto
872
1141
781
1218
24MM
Very good for a superzoom lens slight

colour fringing is only usually a danger at
the long end of the zoom range.
LAB TEST AT f/8
28MM
Resistance to colour fringing is good

and remains constant throughout the
entire zoom range.
LAB TEST AT f/8
18MM
Colour fringing is a little noticeable in

the central region of the zoom range, but
well controlled at either end.
LAB TEST AT f/8
Apparent at both ends of the zoom

range, fringing at image corners can also
be noticeable at mid-range settings.
LAB TEST AT f/8
Fringing at wide angle
0.31
0.43
0.33
1.67
Fringing at mid range
0.34
0.41
0.6
0.77
Fringing at telephoto
0.56
0.44
0.46
1.58
18MM
DISTORTION
NIKON SOFTWARE
ESSENTIAL KIT
Sharpness can be lacking at the largest

available apertures, but performance is
good if you make a one-stop reduction.
Nikon 28-300mm
f/3.5-5.6G AF-S ED VR
18MM
24MM
Theres a fair bit of barrel distortion at

the wide-angle end but the latest Nikon
bodies can tune this out automatically.
LAB TEST AT f/5
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Nikon 24-120mm
f/3.5-5.6G AF-S IF-ED VR
28MM
Barrel distortion is quite restrained at

24mm, switching to a slight pin-cushion
effect at middling and longer zooms.
LAB TEST AT f/3.5
18MM
A close match for the Nikon 24-120mm,

distortions are well controlled, especially
considering the extra zoom range.
LAB TEST AT f/3.5
Barrel distortion at 18mm is more

obvious than with the Sigma 18-250mm,
despite this lenss smaller zoom range.
LAB TEST AT f/5
Distortion at wide angle
-4.31
-2.58
-2.48
-3.26
Distortion at mid range
1.49
1.03
1.18
1.11
Distortion at telephoto
1.35
1.02
0.99
1.11

This lens delivers the best image quality
of any DX-format superzoom currently
available, with excellent results for
sharpness, fringing and distortion.

This often-overlooked lens works well
on full-frame and DX bodies alike,
consistently delivering high optical
quality at a good price.

Image quality is good overall. Our only
reservation is that sharpness could be a
little better at the maximum 300mm
focal length.
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IMAGE TEST VERDICT

Edge-to-edge sharpness could be better,
especially when youre using the largest
available apertures. Overall, this lens is
good rather than great.

We test lenses to their limits
in three key areas of optical
performance: sharpness, colour
fringing and distortion
LAB TEST AT f/8
At maximum apertures, sharpness is

quite lacking throughout the zoom range.
At f/8 the lens fares rather better.
LAB TEST AT f/8
Tamron 18-270mm
f/3.5-6.3 Di II VC PZD
Distortion
(scores closest to
0% are best)
We measure
distortion for each lens across its
focal range. Negative numbers
indicate barrel distortion, and
positives show pinch distortion.
Tamron 28-300mm
f/3.5-6.3 XR Di LD VC Macro
At f/8, sharpness is pretty good at focal

lengths around 135mm, but less inspiring
towards either end of the zoom range.
LAB TEST AT f/8
In the 28-200mm section of the zoom

range, sharpness is great, and its still
acceptable at the longest 300mm setting.
LAB TEST AT f/8
1449
1352
1172
2108
1165
1269
1344
1682
1019
1127
885
1128
18MM
18MM
LAB TEST AT f/8
Fringes around high-contrast edges can

be an issue throughout the zoom range
but are most obvious in telephoto shots.
LAB TEST AT f/8
28MM
Apart from in the central region of the

zoom range, fringing is a major issue, with
some of the worst results on test.
LAB TEST AT f/8
Colour fringing is obvious at mid to long

focal lengths throughout the zoom range
a lot worse than with Nikons equivalent.
LAB TEST AT f/8
1.25
1.56
2.33
1.8
0.98
1.3
0.6
2.54
2.18
2.02
3.37
3.78
18MM
18MM
Given the generous zoom, distortions

are fairly low, especially for pin-cushion
distortion at telephoto settings.
LAB TEST AT f/5
Barrel distortion is pronounced at 18mm

and, unlike with Nikon lenses, automatic
corrections are unavailable.
LAB TEST AT f/5
28MM
Pronounced barrel distortion switches

to high pin-cushion distortion as you zoom
from wide-angle to mid-range settings.
LAB TEST AT f/5
Theres very little to differentiate the

Tamron and Nikon 28-300mm lenses in
terms of distortion. Both perform well.
LAB TEST AT f/4
-2.48
-4.28
-4.02
-2.44
1.02
1.25
1.25
0.81
0.84
1.09
1.09
0.75
IMAGE TEST VERDICT

Lab data is disappointing for the Tamron
18-200mm, and our real-world results
are further hampered by the lack of
optical stabilisation.
IMAGE TEST VERDICT
IMAGE TEST VERDICT
The extreme 15x zoom range is an

undoubtedly good feature to have, but
brings with it a fairly major compromise
in terms of image quality.
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Colour fringing is the only real flaw in

the Tamrons image quality. Other than
that, its a strong performer at a
good-value, reasonable price.
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IMAGE TEST VERDICT

Outright sharpness could be better,
especially towards corners of the frame,
but the Sigma 18-250mm acquits itself
fairly well overall.
ESSENTIAL KIT
18MM
NIKON SOFTWARE
Most noticeable at either end of the

zoom range. Theres still some apparent
colour fringing around the 135mm mark.
18MM
NIKOPEDIA
Sharpness is in line with the Sigma

18-200mms at wide-angle to middle focal
lengths, but drops off at 250mm.
Tamron 18-200mm
f/3.5-6.3 Di II Macro
Fringing
(low scores are
better)
Shooting at minimum,
maximum and intermediate apertures,
we measure colour fringing (chromatic
aberration) in pixels. The perfect result
in this test would be 0%.
CAMERA SKILLS
Sigma 18-250mm
f/3.5-6.3 DC OS HSM
Sharpness
(high scores are
better)
We measure sharpness
using industry-standard test charts and
image-analysis software. Results are
combined over the full range of apertures
and focal lengths to get a verdict.
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NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT

COMPARISON TABLE
Nikon 18-200mm Nikon 24-120mm
f/3.5-5.6G AF-S DX f/3.5-5.6G AF-S
ED VR II
IF-ED VR
Nikon 28-300mm
f/3.5-5.6G AF-S ED
VR
Sigma 18-200mm
f/3.5-6.3 II DC OS
HSM
Sigma 18-250mm
Tamron 18-200mm
f/3.5-6.3 DC OS HSM f/3.5-6.3 Di II Macro
Tamron 18-270mm
f/3.5-6.3 Di II VC
PZD
Tamron 28-300mm
f/3.5-6.3 XR Di LD
VC Macro
nikon.com
nikon.com
sigmaphoto.com
sigmaphoto.com
tamron.com
tamron.com
tamron.com
HOW THE
SUPERZOOMS
COMPARE
WEBSITE
nikon.com
STREET PRICE
590, $597
450, $860
660, $1,047
240, $300
300, $350
132, $200
330, $450
515, $750
FULL-FRAME COMPATIBLE
No
Yes
Yes
No
No
No
No
Yes
EQUIVALENT ZOOM (APSC)
27-300mm
36-180mm
42-450mm
27-300mm
27-375mm
27-300mm
27-405mm
42-450mm
APERTURE RANGE
f/3.5-5.6 to f/22-36
f/3.5-5.6 to f/22-36
f/3.5-5.6 to f/22-38
f/3.5-6.3 to f/22
f/3.5-6.3 to f/22
f/3.5-6.3 to f/22
f/3.5-6.3 to f/22-40
f/3.5-6.3 to f/22
IMAGE STABILISATION
Four-stop
Three-stop
Four-stop
Four-stop
Four-stop
None
Four-stop
Four-stop
AUTOFOCUS ACTUATOR
Ultrasonic (motor)
Ultrasonic (motor)
Electric (motor)
Ultrasonic (motor)
Electric (motor)
INTERNAL FOCUS
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
FRONT ELEMENT ROTATION
No
No
No
No
No
No
No
No
MIN FOCUS DISTANCE
50cm
50cm
50cm
45cm
45cm
45cm
49cm
49cm
MAXIMUM MAGNIFICATION
0.22x
0.21x
0.32x
0.26x
0.29x
0.27x
0.26x
0.33x
77 x 97mm
77x94mm
83x115mm
75x88mm
79x101mm
77x84mm
74x84mm
78x99mm
WEIGHT
555g
575g
800g
490g
630g
398g
450g
555g
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL

Live with a lens for a while and initial impressions only get stronger
compact and lightweight. Youll notice
1 Wide open
8 Flower power
Small maximum apertures at the
telephoto end might mean you have to shoot
wide open more often, and this can be an
issue for image quality.
Wider angles
Minimum focal lengths greater than

18mm on an APSC-format camera or 28mm
on a full-frame body are often quite limiting
for wide-angle compositions.
Play by numbers
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In the vast majority of scenarios,

PPRQDQ$36&IRUPDWFDPHUDLVQH
For full-frame cameras, 300mm is better.
Stable shooting
Size matters
For handheld pictures, stabilisation

systems make a big difference, especially at
the longer end of the zoom range.
When buying a superzoom as a travel

lens, it pays to get one thats reasonably
the difference if youre carrying it

around all day.
Smooth and silent
autofocus, only available on
the Nikons here, enables great
handling. The focus ring
remains static during
autofocus, so you dont
need to worry about
getting in the way.
DX dream
Superzooms
for full-frame
cameras are often
bigger and heavier
than APSC-format
ones, but not always.
The full-frame Tamron
28-300mm is smaller
and lighter than the Sigma
18-250mm APSC lens.
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The petal-shaped lens hoods

supplied with the superzooms on test not
RQO\ZRUNHIFLHQWO\WRUHGXFHJKRVWLQJ
DQGDUHEXWDOVROHVVHQWKHULVNRI
the front element being knocked and
scraped.
On brand
In-camera auto
distortion control doesnt
work with independently
manufactured lenses,
strengthening the case
to stick with genuine
Nikon glass.
10
Saving time
)RUHHWLQJ
photo opportunities, you
really can get great shots
with a superzoom lens. You
might miss them if you have to
swap lenses on your camera.
THE WINNER IS...
CAMERA SKILLS
Nikon 18-200mm
A seamless extension to any Nikon DX body, its a
winning mix of high-end features and quality
least at either end of the zoom range, while
distortions are better controlled and colour
fringing is generally less of a problem.
The bigger picture
Whats good Excellent build; fast, ring-type,

ultrasonic autofocus; refined handling; great
image quality.
Whats bad Lab test data for sharpness at the
200mm focal length could be better.
Our verdict This is as good as it gets for
superzoom lenses on a DX body.
OVERALL
Whats good The compact, light build makes it

a neat travel lens. Telephoto sharpness is great.
Whats bad Barrel distortion at 18mm is
noticeable, which could be irritating.
Our verdict As a new lens it wasnt particularly
good value for money, but prices have dropped.
Whats good Offers a big zoom range without

too much compromise on image quality.
Whats bad Not the greatest for sharpness, and
its quite big and heavy for an APSC-format lens.
Our verdict Great value for money, especially if
youre looking for extra telephoto reach.
OVERALL
OVERALL
OVERALL

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Whats good Great all-round image quality, with

extra wide-angle potential on full-frame bodies.
Whats bad Only has a three-stop stabiliser, and
comes up short on outright zoom range.
Our verdict A tempting choice for full-frame and
DX bodies, and its sensibly priced.
ESSENTIAL KIT
Nikon 24-120mm f/3.5-5.6G Sigma 18-200mm f/3.5-6.3 Sigma 18-250mm f/3.5-6.3

AF-S IF-ED VR
DC OS HSM
II DC OS HSM
NIKON SOFTWARE
For full-frame cameras, the Nikon 28300mm and Tamron 28-300mm are direct
competitors. The Nikon is more advanced,
with ring-type ultrasonic autofocus, but the
Tamron only has a basic electric motor thats
slow, noisy and more prone to hunting in
dull light. The Tamrons sharpness is better
at 300mm, but the Nikon delivers better
image quality. Overall, our full-frame choice
is the Nikon 24-120mm. Yes it lacks outright
telephoto reach, but the extra wide-angle
coverage is useful and offers a step up in
image quality. The lens is also good for
APSC-format cameras, if youre planning on
upgrading from APSC to full-frame.
NIKOPEDIA
Beautifully built, the secondgeneration of Nikons 18-200mm

VR superzoom packs in plenty of top-level
features. The ring-type ultrasonic autofocus
is fast, supremely accurate and practically
VLOHQW+DQGOLQJLVIXUWKHUUHQHGE\IXOO
time manual focus override, which is shared
with Nikons full-frame superzooms in the
group. Its not perfect, as theres a little zoom
creep, and the image sharpness measured
in our lab tests could have been better at
the 200mm focal length. Out and about,
however, it delivered the best overall image
quality time after time.
For maximum zoom range on APSCformat cameras, the Sigma 18-250mm OS
is a better bet than the Tamron 18-270mm
VC. Both feature ultrasonic, motor-driven
autofocus systems, but the Sigmas is faster.
The Sigmas sharpness is also better, at
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CAMERA SKILLS
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ESSENTIAL KIT
NIKON SOFTWARE
STANDARD
Upgrading a standard kit zoom should give you great
all-round versatility as well as excellent image quality.
Our Test Team reveals the best lens options
standard zoom is the
lens most of us use
for the majority of our
shooting. It can deliver everything
from wide-angle to short telephoto
focal lengths, providing great
versatility. Plus, the overall
image quality isnt compromised
to the extent it usually is with a
superzoom lens. Compared with
an 18-250mm lens, the more
modest zoom range of a standard
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lens tends to result in greater

sharpness at all available focal
lengths. Youre also likely to get
less distortion, reduced chromatic
aberration (colour fringing) and
less vignetting (darkened corners).
This is especially true when youre
combining the shortest focal length
with the largest available aperture.
Its no surprise, then, that Nikon
sells most of its D-SLRs with the
option of a kit standard zoom
lenses. The most popular are the

18-55mm VR and 18-105mm
VR. Theyre both good, giving
acceptable sharpness, contrast and
all-round image quality. Even so,
its easy to feel that theyre built
on a budget. The mounting plates
are plastic rather than metal, and
lack the rubber weather seals
featured on many of Nikons more
upmarket lenses. Also, the lenses
DUHOLJKWZHLJKWDQGFDQIHHOLPV\
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CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
THE CONTENDERS
1 Tamron 17-50mm f/2.8 SP AF XR Di II VC 350, $650
2 Sigma 17-70mm f/2.8-4 DC Macro OS HSM 330, $500
3 Tamron 28-75mm f/2.8 SP AF XR Di LD 360, $500
4 Nikon 16-85mm f/3.5-5.6G AF-S DX ED VR II 440, $630
6 Sigma 24-70mm f/2.8 EX DG IF HSM 600, $800

7 Nikon 17-55mm f/2.8G AF-S IF-ED 1050, $1400
8 Nikon 24-70mm f/2.8G AF-S ED 1245, $1890
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5 Sigma 17-50mm f/2.8 EX DC OS HSM 310, $520
INTRODUCTION

EQUIPMENT KNOW-HOW
CAMERA SKILLS
Zoom range
Vibration Reduction
A constant-aperture lens such as the

Sigma 17-50mm offers the equivalent
of 25.5-75mm on a DX body. The Nikon
16-85mm gives a more generous
24-127.5mm effective zoom range.
For general handheld shooting,

optical stabilisation is a massive
bonus, even for lenses with relatively
fast f/2.8 maximum apertures. It
often means you wont need a tripod.
Size and weight
Autofocus
Weather seal
Smaller, lighter lenses are easier

to carry and feel more balanced
on light bodies such as the D3300.
Nikons 16-85mm VR is only about
half the weight of its 24-70mm.
For the fastest performance, quietest

operation and full-time manual override,
ring-type ultrasonic autofocus is best. Its
featured on all Nikon lenses in this group,
plus the Sigma 24-70mm.
The three Nikon lenses on test have a

rubber ring around the mounting plate, to
prevent dust and moisture entering the
camera. This seal is absent on all other
lenses in the group.
How to recognize the basics and

choose your optional extras
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ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Filter thread
Faster, constantaperture standard
zooms usually have
larger front elements,
so require bigger lters.
These are usually
77-82mm compared
with 52-72mm.
The Vibration Reduction (VR)

system on the Nikon 18-55mm and
18-105mm lenses lacks the brands
popular Active mode, and its AF-S
autofocus is based on fairly slow
motor-driven ultrasonic motors,
not the faster and quieter ringtype system. Ring-type ultrasonic
autofocus is featured in all of the
Nikon lenses here, as well as the
Sigma 24-70mm. It gives you
full-time manual focus override in
Single AF mode. Another minus
point of the 18-55mm VR kit lens
is that its front element rotates
during focusing, which makes it
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such as circular polarisers.
So what are the main upgrade
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is whether youre using an FX (fullframe) body such as the D700 or a

DX body that has a smaller APSCformat (Advanced Photo System
Classic) sensor. For FX bodies,
the main contenders are the Nikon
24-70mm, Sigma 24-70mm and
Tamron 28-75mm. However,
theres something to be said for
using these lenses on DX bodies
as well. Due to the crop factor,
youll only be using the central
part of the lens image circle,
where picture quality is at its best.
That means you can expect less
vignetting and the possibility of
greater sharpness in the extreme
corners of a photo.
The downside of using an FX
lens on a DX camera is that youll
JARGON BUSTER
Optical stabilisation
A microprocessorcontrolled group of
elements within the lens
counteracts camera-shake
for handheld shooting.
Ring-type stabilisation
Instead of an electric or
ultrasonic motor, advanced
ultrasonic autofocus uses
two big rings that almost ll
the lens internal diameter.
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VDFULFHZLGHDQJOHSRWHQWLDO
For example, a 24-70mm model
gives an effective zoom range of
36-105mm on cameras such as the
D3300, D5300 and D7100.
The short end of the zoom
range is effectively still very close
to the classic wide-angle focal
length of 35mm, but the Tamron
28-75mms maximum wide-angle
equivalent of 42mm really puts
it out of the running. Either way,
a standard zoom thats designed
exclusively for DX cameras and
zooms out to 16 or 17mm has an
effective wide-angle potential of
24 or 25.5mm respectively. This
gives a much wider angle of view
WKDWPRVWSKRWRJUDSKHUVZLOOQG
far more appealing.
STEP BY STEP Zoom and focus

How to avoid trouble when handling your lens
INTRODUCTION
CAMERA SKILLS
02 Image stabiliser
03 Focus ring
All the lenses on test are resistant to creep, but

its still a good idea to use the zoom lock switch,
if featured, when walking around with the
camera over your shoulder. This stops the lens
extending and reduces the risk of knocks.
Optical stabilisers often shift the optical path

through the lens, so the viewnder image seems
to move. For precise positioning of the camera
when youre using a tripod, it therefore helps to
switch the stabiliser off.
Without ring-type ultrasonic AF, the focus ring

will rotate during autofocus. This can make it
tricky to hold the lens naturally, as your ngers
can foul the action of the focus ring. Adapt your
grip of the camera and lens accordingly.
example, the Nikon 16-85mm has

a maximum available aperture
of f/3.5 at 16mm but only f/5.6
at 85mm. The alternative is a
constant-aperture lens, where the
maximum available aperture is
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In this class, its typically f/2.8,
two stops faster than f/5.6.
A big advantage of a larger
maximum aperture is that you can
JHWDVPDOOHUGHSWKRIHOG7KDWV
good for isolating the main area of
interest in a shot by blurring the
background, and is particularly
useful in portraiture. Other
assignments. The drawback is that,

when youre walking around, the
relatively large size and weight can
feel cumbersome. At nearly 1kg
and 133mm in length, the Nikon
24-70mm in particular feels a bit
unbalanced on a lightweight body
such as a D3300 or D5300.
Need for speed

they use to rate the standard zooms in our roundup
As part of our testing, we use
lenses in real-world shooting
conditions. We examine build
quality and handling, and check
zoom and focus ring smoothness.
We test image stabilisation modes,
autofocus speed and accuracy, and
resistance to ghosting and flare.
We then run a full range of lab
trials under controlled conditions,
using the Imatest Master and DxO
Analyzer suites. Photos of test
charts are taken across the range
of apertures and focal lengths and

analysed for sharpness, distortion
and chromatic aberration (colour
fringing). You can see our image
174 and 175, but bear in mind that
these are summaries. We also take
apertures and zoom settings into
consideration.
Finally, we combine the lab
Our sophisticated lab tests use a combination of optical resolution

charts and mathematical analysis to deliver precise resolution gures
across a range of apertures and focal lengths
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Another major consideration

is the speed of the lens, or its
maximum aperture. As with any
other type of zoom lens, standard
zooms often have maximum
apertures that shrink a little as
you extend the focal length. For
bonuses include the potential of

faster, more accurate autofocus
in dull light, and a brighter
YLHZQGHULPDJH+RZHYHU
constant-aperture zoom lenses
typically have less zoom range
and leave you wanting at the
telephoto end.
If youd rather have the extra
zoom range, its well worth
considering an f/3.5-5.6 standard
zoom, and buying a 50mm f/1.8
prime lens for portraiture as well.
At about $120, the Nikon 50mm
f/1.8D is a cracking lens and has
a faster aperture than any of the
other zooms on test.
REAL WORLD MEETS LAB
ESSENTIAL KIT
As with any other type of zoom, standard

zooms often have maximum apertures that
shrink a little as you extend the focal length
HOW WE TESTED
NIKON SOFTWARE
Overall construction quality in the

lenses on test is also a step up from
Nikons 18-55mm VR and
18-105mm kit lenses. All models
in the group are more robust and
each of the three Nikon lenses
features weather seals. Even so,
some of the lenses still feel a bit
plasticky, whereas the Sigma
24-70mm feels particularly
sturdy and the Nikon 17-55mm
and 24-70mm models have fully
professional build quality. Theyre
big, weighty beasts, with metal
bodies, and are built to take the
knocks of daily duty on tough
NIKOPEDIA
01 Zoom lock
INTRODUCTION
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CAMERA SKILLS
Tamron 17-50mm f/2.8 Sigma 17-70mm f/2.8-4

SP AF XR Di II VC 350, $650 DC Macro OS HSM 330, $500
Small but perfectly formed? Well, its little, but its
also lacking too many essential features
Does this budget zoom represent an ideal

compromise or is there room for improvement?
Despite having the same

fast, constant aperture as
the Nikon 17-55mm f/2.8 (see
page 111) the Tamron is smaller,
lighter and cheaper. It also has
a four-stop optical stabiliser,
which is lacking on the Nikon.
On the surface it looks a steal,
but the devil is in the detail.
Build quality feels less rugged
than with the Nikon lens,
and the basic electric motor
autofocus is relatively sluggish
and noisy. Even the Vibration
Correction (VC) is audible.
This Sigma bridges the

gap between fast constantaperture lenses and those with
a more generous zoom. Its
maximum available apertures
are about a stop larger than
with most kit lenses, ranging
from f/2.8 at 17mm to f/4 at
70mm. The zoom range is quite
impressive, too, equivalent to
25.5-105mm. The lens also
features four-stop Optical
Stabilization and only costs
marginally more than the
Tamron 17-50mm VC.
The HSM (Hyper-Sonic
Motor) autofocus isnt a ringtype system, so uses a motor
and gear wheels, but its a lot
quieter and a bit faster than
Performance
Lab test results look quite
good on the whole, but while
sharpness is good at the centre
of the frame, it drops away

alarmingly towards the corners.
This is especially true at f/2.8,
at both ends of the zoom range.
Even when youre shooting at
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around the edges of images.
It also seems to cause a
problem with overexposure,
which often happens by about
two-thirds of a stop. This results
in overly bright images and
blown highlights. The effect is
most noticeable at the wideangle end of the zoom range,
where you always have to be
ready to dial in some negative
exposure compensation.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
28mm
OVERALL
This wide-angle shot on a DX camera

required a full stop of negative exposure
compensation, which is a lot to ask
WE SAY Cheap for a fast lens,

but build quality is unimpressive
and corner sharpness poor.
the Tamron lenses more basic

electric motors. The focus ring
rotates during autofocus, so take
care not to foul its action.
Performance
You get plenty of sharpness and
contrast, though not quite as
much as with the similar Nikon
16-85mm VR (opposite). Barrel
distortion at 17mm switches to
pin-cushion at 35mm, which
then stays at a similar level up
to 70mm. Even so, the amounts
of these distortions arent too
severe, especially considering
that the overall zoom range is
bigger than average.
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VALUE FOR MONEY
28mm
Sharpness is good right into the corners,
even at the largest available apertures,
and distortion isnt too noticeable
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OVERALL
WE SAY A worthy upgrade to a kit
lens, the Sigma 17-70mm offers very
good value for money.
INTRODUCTION
CAMERA SKILLS
Offers decent DX performance but scrimps on

features to target photographers on meagre budgets
A feature-packed, effective and easy-to-carry

standard zoom without the pro price tag
With a fairly conventional

zoom range of 28-75mm,
this Tamron lens lacks wideangle coverage compared with
Nikon and Sigmas 24-70mm
lenses. On full-frame D-SLRs
such as the D700, its noticeable
how much less width there is
in the maximum angle of view.
On a DX body, any wide-angle
potential is completely lost.
Build quality and handling
are on a par with Tamrons
slightly cheaper 17-50mm
lens, being adequate but not
impressive. The full-frame lens
is much slimmer and has a
IDLUO\VPDOOPPOWHUWKUHDG
despite its large f/2.8 constant
aperture. However, unlike the
There are plenty of highend features packed into

this travel-friendly zoom. The
ring-type ultrasonic autofocus is
fast, practically silent and comes
complete with full-time manual
override. The VR II optical
stabiliser is similarly top notch,
offering a four-stop advantage
as well as boasting an Active
mode thats ideal for shooting
from vibrating platforms or
when youve got the shivers.
Build quality isnt a match for
the pro Nikon lenses on test but
the lens is still pretty tough and
beautifully put together, feeling
much more of a quality item
than Nikons kit zooms. The only
drawback is that the maximum
Tamron 17-50mm VC, this lens

lacks optical stabilisation. The
basic electric motor that drives
autofocus is slow and loud.
Performance
Mounting this lens on a DX
ERG\DWWHUVLWVSHUIRUPDQFH
Sharpness is quite good from
corner to corner, and vignetting
is also very low, even when
youre shooting at 28mm at
f/2.8. On a full-frame camera,
though, edge sharpness is
poorer. In both cases, contrast
is a little on the low side,
especially when light conditions
are gloomy.
28mm
Image contrast is alright in bright
sunlight, as above, but below average
under dull lighting
Performance
The 16-85mm acquits itself well
in the lab and is a joy to use. The
VR system is superb and image
quality is impressively sharp,
even at the largest apertures,
making the f/5.6 at 85mm all
the more usable. Contrast is
excellent and the lens gives
superb results in practically any
shooting conditions.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
OVERALL
28mm
WE SAY Only worth considering

if you have a full-frame camera
and a very tight budget.
Excellent real-world use means you can

expect fabulously sharp, high-contrast
images time after time
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WE SAY If youre not fussed

about the lack of an f/2.8 constant
aperture, this lens is unbeatable.
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FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
aperture of f/5.6 at the long

end of the zoom range is two
stops slower than for some of
the lenses on test. And f/5.6
at 85mm still gives scope for
PLQLPLVLQJGHSWKRIHOG
ESSENTIAL KIT
Nikon 16-85mm f/3.5-5.6G

AF-S DX ED VR II 440, $630
NIKON SOFTWARE
Tamron 28-75mm f/2.8

SP AF XR Di LD 360, $500
NIKOPEDIA
Tumsan volor se tie tin ulla

adit ex euipiss ismolor
sequism odigna conum
digniscilisl iliquissi elesto
INTRODUCTION
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ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Sigma 17-50mm f/2.8

EX DC OS HSM 310, $520
Sigma 24-70mm f/2.8

EX DG IF HSM 600, $800
This is a pricey proposition, but its worth the cash

for the high optical quality on offer
When you take price into account this becomes a

serious contender for full-frame cameras
At a glance, theres very

little to distinguish this
lens and the Sigma 17-70mm,
which costs much less. As an
EX lens, the 17-50mm has an
upmarket, textured coating
to denote superior build
and optical quality, but both
lenses are of a similar size and
weight, and the controls and
onboard markings are nearly
identical. The main difference
is that the 17-50mm is a fast
constant-aperture f/2.8 lens
with a smaller zoom range. As
H[SHFWHGWKHOWHUVL]HLVODUJHU
at 77mm instead of 72mm.
Disappointingly, the HSM
autofocus system isnt ring-type,
so the focus ring rotates during
This beefy Sigma optic is a

little broader than Nikons
24-70mm full-frame lens, but is
slightly lighter and nearly 20mm
VKRUWHU%XLOGTXDOLW\DQGQLVK
are excellent, with silky smooth
zoom and focus rings. The latter
JLYHVWKHDGGLWLRQDOEHQHWRI
full-time override in autofocus
mode, thanks to a super-fast
and blissfully quiet ring-type
ultrasonic system.
The constant f/2.8 aperture
is good to have, but one thing
thats lacking is Sigmas OS
(Optical Stabilization), which
is featured on the smaller
17-50mm f/2.8 lens for DX
cameras. Filters will also be
expensive, because at 82mm
autofocus and impairs handling

slightly. Theres also no full-time
manual override. On the plus
side, Sigmas four-stop optical
stabiliser works very well.
Performance
Optical quality is excellent, even
at the maximum aperture of
f/2.8, and theres impressively
low vignetting. The only caveat
is that corner sharpness is a little
poor at f/2.8, especially at focal
lengths of 28-35mm. However,
this isnt a problem in practical
terms, as youd usually use the
large aperture to reduce depth
RIHOGDQGEOXUWKHEDFNJURXQG
FEATURES
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28mm
Theres plenty of corner sharpness on
hand if you stop down to f/5.6, although
at f/2.8 it drops off a little
OVERALL
Performance
Sharpness is good, but drops
off a little at the 50mm zoom
setting and could be better in
the corners at the wide-angle
end at f/2.8. Theres plenty of
contrast and distortions are
fairly low. Vignetting is less
pronounced than with the
Tamron 28-75mm lens on a
full-frame body and negligible
on a DX camera. Overall, its
a high-quality lens that only
costs about half the price of the
competing Nikon.
FEATURES
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VALUE FOR MONEY
28mm
WE SAY A good, fast constantaperture zoom, but its a shame it

lacks ring-type HSM.
this lens has the widest diameter

thread in the group.
Sharpness isnt quite a match for that of

the Nikon 24-70mm f/2.8 lens but is still
very good within the group
WorldMags.net
OVERALL
WE SAY For full-frame users, its
the best-quality standard zoom
that doesnt cost a fortune.
INTRODUCTION
CAMERA SKILLS
Nikon 24-70mm f/2.8G

AF-S ED 1245, $1890
A hefty lens with

battleship build quality,
this 17-55mm is the discerning
professionals choice. Indeed,
theres nothing amateurish
about its price tag. Even so, the
cheaper equivalent Sigma and
Tamron lenses both feature
optical stabilisation, which is
lacking in the Nikon lens.
The 17-55mms ring-type

ultrasonic autofocus system is
spectacularly fast and unerringly
accurate. Its even faster than
WKHVLPLODUV\VWHPWWHGWRERWK
the Nikon 16-85mm and Sigma
24-70mm lenses on test. Theres
plenty of travel in the focus ring,
When it comes to size

and weight, this lens
feels more like a 70-300mm
telephoto than a standard zoom.
Its still well balanced on a big,
heavy body such as a D4 or
D700, though. As a grown-up,
full-frame version of the Nikon
17-55mm, this lens also features
a fast, constant f/2.8 aperture
and lightning-quick, ring-type
ultrasonic autofocus.
One advantage of the lens
over the DX-format 17-55mm
is that it features Nikons Nano
Crystal coating, which does a
great job of reducing ghosting
DQGDUH2QWKHRWKHUKDQG
similarities include the lack
of an optical stabiliser, which
28mm
Sharpness and contrast results are very
good, but no better than those youd get
with Nikons 16-85mm zoom
Performance
$V\RXGH[SHFWIURPDDJVKLS
standard zoom, contrast
and sharpness are excellent
Theres little colour fringing at
either end of the range, but it
can be noticeable at mid-zoom
settings. Distortions are well
controlled at all focal lengths.
The sheer length of the lens
makes it impossible to use
candidly, but for all-round build
and image quality this is as good
as it gets for full-frame shooters.
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
OVERALL
28mm
WE SAY Tough build quality, but

its pricey, lacks stabilisation and
doesnt offer great image quality.
Theres no faulting the optical quality of

Nikons mighty 24-70mm, but youll
need a steady hand to use it
WorldMags.net
WE SAY Impressive optics and

build, but its a big lens and doesnt
have an optical stabiliser.
VIDEO GUIDES
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
makes handheld shooting more

of a challenge.
ESSENTIAL KIT
Performance
too, which aids precise manual

focusing in MF mode and when
overriding autofocus.
Overall image quality is
excellent, but sharpness is no
better than with the Nikon
16-85mm lens in the 17-55mm
sector of its zoom range. Sure,
the cheaper Nikons sharpness
drops off a little at 85mm, but
the pro lens doesnt offer this
focal length anyway. Distortion
is similar between the two
lenses, and fringing is slightly
better on the 16-85mm. The
only real bonus of this lens is
the larger maximum aperture,
which is just over a stop faster.
NIKON SOFTWARE
Professional users of DX bodies need look no further Nikon brings out the big guns in every sense with
for a high-quality standard zoom
this heavy but sharp-as-nails flagship zoom
NIKOPEDIA

AF-S IF-ED 1050, $1400
INTRODUCTION
UP TO STANDARD?
Nikon 16-85mm
SHARPNESS
NIKOPEDIA
CAMERA SKILLS
Find out how the zooms on test compare our

Lab data isnt spectacular at 85mm,

but real-world results are pin-sharp
corner to corner.
LAB TEST AT f/8
FRINGING
A good performer, but sharpness isnt

better than it is in the 17-55mm portion
of the Nikon 16-85mm lens range.
LAB TEST AT f/8
Sigma 17-50mm
f/2.8 EX DC OS HSM
Its top of the full-frame class for

sharpness, beating Sigma and Tamron
competitors, but is expensive.
LAB TEST AT f/8
Levels of sharpness are impressive

right into the corners, even at the
maximum f/2.8 aperture.
LAB TEST AT f/8
2359
2345
2468
2562
2318
2421
2381
2354
2076
2494
2471
2469
55MM
At 16mm theres only slight colour

fringing, which essentially disappears at
longer focal lengths.
LAB TEST AT f/8
70MM
Chromatic aberration is among the

highest on test at 17mm, even though its
reduced by current Nikon D-SLRs.
LAB TEST AT f/8
50MM
Colour fringing is a non-issue at either

end of the zoom range, and only slightly
noticeable at mid-range settings.
LAB TEST AT f/8
Fairly consistent throughout the zoom

range, colour fringing is well controlled
and barely noticeable in most shots.
LAB TEST AT f/8
0.71
1.25
0.15
0.56
0.13
0.36
0.48
0.48
0.16
0.18
0.16
0.34
16MM
DISTORTION
NIKON SOFTWARE
ESSENTIAL KIT
Nikon 24-70mm
f/2.8G AF-S ED
85MM
17MM
Distortion is only really noticeable at

16mm, but even here its very uniform
and easy to correct when editing.
LAB TEST AT f/8
VIDEO GUIDES
Nikon 17-55mm
f/2.8G AF-S IF-ED
24MM
From barrel distortion to pin-cushion,

performance is almost identical to
Nikons cheaper 16-85mm lens.
LAB TEST AT f/8
17MM
Distortions are minimal throughout

the zoom range, so the lens is especially
suitable for architectural shots.
LAB TEST AT f/8
Some barrel distortion at 17mm, and

this switches to a small amount of
pin-cushion by 28mm.
LAB TEST AT f/8
-3.43
-3.27
-1.45
-2.71
1.21
1.35
0.15
0.63
1.18
1.14
0.23
0.98

With great sharpness and contrast,
helped by highly effective optical
stabilisation, this is a brilliant lens for
handheld photography.

Theres no real increase in image
quality compared with Nikons
16-85mm, though the 17-55mm does
have a faster maximum aperture.

Brilliant image quality in all respects,
but it comes at a very high price and
the lack of stabilisation can
downgrade handheld results.
WorldMags.net

Overall image quality isnt better than
with the Nikon 16-85mm, but this
Sigma is a good choice if you want the
faster, constant aperture.

performance sharpness,
colour fringing and distortion
LAB TEST AT f/8
Sigma 24-70mm
f/2.8 EX DG IF HSM
Very good overall, but theres a slight

dip in sharpness at focal lengths around
the 50mm mark.
LAB TEST AT f/8
Fringing
Distortion
(low scores are

better)
Shooting at minimum,
maximum and intermediate apertures,
we measure colour fringing (chromatic
aberration) in pixels. The perfect result
in this test would be 0%.
Tamron 17-50mm
f/2.8 SP AF XR Di II VC
(scores closest
to 0 are best)
We measure
distortion for each lens across its
focal range. Negative numbers
indicate barrel distortion, and
positives show pinch distortion.
Tamron 28-75mm
f/2.8 SP AF XR Di LD
Sharpness is very respectable at the

centre of the frame, but its poor
towards the corners at some apertures.
LAB TEST AT f/8
On a full-frame body, sharpness

around the borders is a little lacking,
but its not so noticeable on DX cameras.
LAB TEST AT f/8
2345
2298
2383
2262
2143
2175
2404
2287
2134
1926
2343
2079
70MM
70MM
LAB TEST AT f/8
Theres not much fringing throughout

the zoom range but the lens cant quite
match the mighty Nikon 24-70mm.
LAB TEST AT f/8
75MM
Fringing isnt too bad at wide angles

but, unlike most lenses, this lens doesnt
improve much at longer focal lengths.
LAB TEST AT f/8
The worst lens in the group for

fringing, most noticeably at the edges of
the frame at wide-angle settings.
LAB TEST AT f/8
0.43
0.31
0.33
1.42
0.21
0.23
0.32
1.21
0.12
0.24
0.27
0.32
24MM
Barrel and pin-cushion distortion is

restrained, especially considering the
above-average zoom range of this lens.
LAB TEST AT f/8
17MM
A little barrel distortion at wide-angle

and mid-zoom lengths, switching to
fairly low pin-cushion at the long end.
LAB TEST AT f/8
28MM
Barrel distortion is quite pronounced

at 17mm, but theres practically no
distortion at the 50mm end.
LAB TEST AT f/8
Fairly little distortion at any zoom

length. This is the most impressive facet
of the Tamrons image quality.
LAB TEST AT f/8
-2.97
-2.17
-3.66
-1.48
1.26
-0.55
-0.18
-0.48
1.28
0.71
0.09
0.5

The Sigma 24-70mm offers excellent
image quality on both full-frame and
DX-format cameras, making it a great
value option.
Edge and corner sharpness are quite

poor, especially at the f/2.8 focal
length, and you often need to stop
down to f/5.6 for good results.
WorldMags.net
Its not a star performer on DX

cameras, and no match for the Nikon
and Sigma 24-70mm lenses on a
full-frame body.
VIDEO GUIDES

Overall image quality lags a little
behind the more expensive lenses in
the group, but the Sigma is still very
good value at the price.
ESSENTIAL KIT
17MM
NIKON SOFTWARE
Fringing is well contained and only

really noticeable around high-contrast
edges towards the corners of the frame.
50MM
NIKOPEDIA
Corner-to-corner sharpness is great

for a lens of this price, but the zoom isnt
on a par with the best in the group.
(high scores are

better)
We measure sharpness
using industry-standard test charts and
image-analysis software. Results are
combined over the full range of apertures
and focal lengths to get a verdict.
CAMERA SKILLS
Sigma 17-70mm
f/2.8-4 DC Macro OS HSM
Sharpness
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT

COMPARISON TABLE
Nikon 16-85mm
f/3.5-5.6G AF-S
DX ED VR II
Nikon 24-70mm
f/2.8G AF-S ED
Sigma 17-50mm f/2.8 Sigma 17-70mm

EX DC OS HSM
f/2.8-4 DC Macro
OS HSM
Sigma 24-70mm
f/2.8 EX DG IF HSM
Tamron 17-50mm
f/2.8 SP AF XR Di
II VC
Tamron 28-75mm
f/2.8 SP AF XR Di LD
HOW THE
SUPERZOOMS
COMPARE
WEBSITE
nikon.com
nikon.com
nikon.com
sigmaphoto.com
sigmaphoto.com
sigmaphoto.com
tamron.com
tamron.com
STREET PRICE
440, $630
1050, $1400
1245, $1890
310, $520
330, $500
600, $800
350, $650
360, $500
DX/FX
DX
DX
FX
DX
DX
FX
DX
FX
EQUIV ZOOM (APSC)
24-127.5mm
25.5-82.5mm
36-105mm
25.5-75mm
25.5-105mm
36-105mm
25.5-75mm
42-112.5mm
APERTURE RANGE
f/3.5-5.6 to f/22-36
f2.8-f/22
f2.8-f/22
f2.8-f/22
f/2.8-4 to f/22-32
f2.8-f/22
f2.8-f/32
f2.8-f/32
IMAGE STABILISATION
Four-stop
None
None
Four-stop
Four-stop
None
Four-stop
None
AUTOFOCUS ACTUATOR
Ultrasonic (motor)
Ultrasonic (motor)
Electric (motor)
Electric (motor)
INTERNAL FOCUS
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
ACCESSORIES INCLUDED
Hood, pouch
Hood, pouch
Hood, pouch
Hood, pouch
Hood
Hood, pouch
Hood
Hood
MIN FOCUS DISTANCE
38cm
36cm
38cm
28cm
22cm
38cm
29cm
33cm
0.22x
0.2x
0.27x
0.2x
0.37x
0.19x
0.21x
0.26x
72x85mm
86x111mm
83x133mm
84x92mm
79x89mm
89x95mm
80x95mm
73x92mm
WEIGHT
485g
755g
900g
565g
520g
790g
570g
510g
FEATURES
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VALUE FOR MONEY
OVERALL
10
things
we
learnt
in
this
test
Theres plenty to think about when choosing your standard zoom upgrade
1
Sizing things up
Middle ground
Most full-frame lenses are big and

heavy, so they feel a bit unbalanced when
used on lightweight DX bodies such as the
D3300 and D5300.
A plus point of using full-frame lenses

on DX bodies is that youre only using the
central portion of the image circle, where
image quality is at its best.
VIDEO GUIDES
Nikon 17-55mm
f/2.8G AF-S IF-ED
Travel light
When youre out and about, the fewer

lenses you have to carry and the less often
you have to change them the better. A lens
with a greater zoom range helps with this.
All a blur
An f/2.8 lens enables you to shrink

WKHGHSWKRIHOGEXWZKHQ\RXVKRRWDWD
longer focal length of 70mm or 85mm you
can still blur backgrounds well at f/5.6.
Sensitivity issues
Keep still
Speed it up
A larger aperture enables

faster shutter speeds. However,
with current Nikon bodies giving
excellent quality at high ISOs,
this is a less important factor.
The addition of an
image stabiliser can make
a massive difference to
handheld shooting,
reducing camerashake dramatically.
Ring-type
ultrasonic autofocus
generally delivers faster
performance than motorbased ultrasonic or electric
systems, and allows full-time
manual override.
WorldMags.net
Fingers and thumbs
In ring-type ultrasonic systems, the

focus ring doesnt rotate in autofocus, so
you dont need to worry about fouling
the focus rings action with your hands.
Zoom creep
None of the lenses on test
suffer from zoom creep, which
makes it easy to shoot at
upward or downward
angles with the camera
mounted on a tripod.
10
Filter size
Theres a big
VSUHDGRIOWHUWKUHDG
sizes in the group of lenses
on test, ranging from
67mm to 82mm. Larger
sizes will mean more
expense when it comes to
EX\LQJOWHUV
THE WINNER IS...
CAMERA SKILLS
Nikon 16-85mm
Compact and lightweight yet packed with
high-tech features, the Nikon is a great performer
image quality at high sensitivities) rather
than having to use a larger f/2.8 aperture.
Paying the price
Whats good Class-leading zoom range,

ring-type autofocus, dual-mode stabilisation and
superb image quality.
Whats bad The maximum aperture is f/5.6 at
the long end of the zoom range, and only f/5 at
about 50mm.
Our verdict Small on size and weight yet big on
performance, this is a standard zoom thats
incredibly easy to live with.
OVERALL
Sigma 24-70mm
f/2.8 EX DG IF HSM
Whats good Generous zoom range, fairly fast

aperture, quiet HSM autofocus and budget price.
Whats bad Not as refined as the Nikon
16-85mm, and image quality isnt as good.
Our verdict An excellent choice if you cant quite
stretch to the cost of the Nikon 16-85mm VR.
Whats good Fairly compact for an f/2.8 lens,

and includes a four-stop optical stabiliser.
Whats bad As with the Sigma 17-70mm, the
focus ring rotates during autofocus.
Our verdict Much better value than the Nikon
17-55mm, which is pricey and lacks stabilisation.
Whats good Full-frame compatibility, ring-type

autofocus and very good image quality.
Whats bad Theres no optical stabiliser and the
filter thread is very large at 82mm.
Our verdict Not quite as good as the whopping
Nikon 24-70mm, but its only half the price.
OVERALL
OVERALL
OVERALL

WorldMags.net
VIDEO GUIDES
Sigma 17-50mm
f/2.8 EX DC OS HSM
ESSENTIAL KIT
Sigma 17-70mm
f/2.8-4 DC Macro OS HSM
NIKON SOFTWARE
The Nikon 16-85mm is fairly affordable, but

if you want a DX-format lens on a tighter
budget, the Sigma 17-70mm is great. Were
not so impressed with the even cheaper
Tamron 17-50mm. It lacks sharpness away
from the frame centre and often seems to
cause metering errors. The best-value f/2.8
for DX cameras is the Sigma 17-50mm,
with its four-stop stabiliser. For FX cameras
there arent any optically stabilised standard
zooms, but the Sigma 24-70mm is the best
buy. It costs less than half the price of the
Nikon 24-70mm. The DX-format Nikon
17-55mm f/2.8 also lacks stabilisation.
Unless you need bombproof build, the Nikon
f/2.8 lenses are fairly poor value for money.
NIKOPEDIA
A standard zoom is ideal for walkabout

photography, and the compact Nikon
16-85mm weighs less than 500g, so is an
ideal travel companion. Despite its small,
lightweight design, build quality feels great
and luxuries include fast, deadly accurate
ring-type ultrasonic autofocus, as well as a
brilliant dual-mode optical stabiliser. It also
has the biggest zoom range in the group.
Most importantly, image quality is superb.
One thing the lens lacks is a relatively
fast, constant maximum aperture of f/2.8.
However, the f/2.8 lenses on test have less
zoom range, lacking the telephoto reach of
their slower rivals. By using the longer focal
length of 85mm, you can still get a similarly
WLJKWGHSWKRIHOGDWI$QGLI\RXQHHG
faster shutter speeds, theres a lot to be said
for increasing the ISO setting in current
Nikon cameras (which deliver excellent
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
WorldMags.net
NIKOPEDIA
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
LENSES
MACRO OPTICS
Are you ready for your close-up? We check out eight Nikon-fit
macro lenses that can deliver full life-size magnification
WorldMags.net
THE CONTENDERS
INTRODUCTION
WorldMags.net
1 Nikon 40mm f/2.8G AF-S DX Micro 200, $277

2 Tamron 90mm f/2.8 SP AF Di Macro 370, $500
4 Sigma 70mm f/2.8 EX DG Macro 330, $460

5 Nikon 60mm f/2.8G AF-S ED Micro 390, $540
6 Nikon 85mm f/3.5G AF-S DX ED VR Micro 375, $527

7 Sigma 105mm f/2.8 EX DG OS HSM Macro 380, $670
8 Nikon 105mm f/2.8G AF-S IF-ED VR Micro 630, $920
CAMERA SKILLS
3 Tamron 60mm f/2 SP AF Di II Macro 350, $525

7
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
WorldMags.net
INTRODUCTION

EQUIPMENT KNOW-HOW

Manual focus ring
Focal length
Internal focus
Manual focusing is often needed in macro

shooting, so the focus ring should be large and
comfortable to use, with a long range of travel
and smooth operation for precise adjustments.
Longer focal lengths usually mean bigger

lenses, but at least you wont have to get
uncomfortably close to the subject youre
trying to photograph.
With macro lenses that feature internal

focusing, the front element doesnt extend at
shorter focusing distances, so theres more
clearance between the lens and subject.
Autofocus system
Image stabilisation
Focus limit switch
Ring-type ultrasonic autofocus tends to be faster

and much quieter than a conventional electric
motor, and comes complete with full-time
manual override.
Usually offers a four-stop bonus against camerashake in general shooting, but the effectiveness
is greatly reduced in close-up photography. Its of
negligible benet at the closest focus distances.
To avoid the autofocus system hunting back

and forth through the entire focus range, a
limit switch can disable either the longer or
shorter end of the focus travel.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
The macro-friendly ticklist that will go a long way
acro badges are often

slapped on lenses that
RIIHUDPDJQLFDWLRQ
factor of 0.5x or less. However,
true macro lenses (or Micro, as
Nikon calls them) deliver 1.0x, or
PDJQLFDWLRQ7KLVPHDQVWKDW
if you photograph a small object
at the lens closest focus distance
setting, it will be the same size
as the image projected onto the
cameras sensor.
$[PDJQLFDWLRQIDFWRU
might not sound impressive, but
bear in mind that this is on the
sensor itself. When the digital
image is viewed on a computer
screen or turned into a photo print,
theres the potential for enormous
enlargement levels of detail
are revealed that are practically

invisible to the naked eye.
7RJHWIXOO[PDJQLFDWLRQ
youll need a macro prime lens
rather than a macro zoom lens.
Even then, some prime lenses
bearing the macro designation
GRQWJLYHIXOO[PDJQLFDWLRQ
All of the lenses weve included
LQWKLVWHVWWWKH[FULWHULD
but there are still some major
differences between them.
Range nder
7KHIRFDOOHQJWKVRIWKHOHQVHVLQ
our roundup range from 40mm to
105mm. Unlike some antiquated
optics, all modern macro lenses
DUHGXDOSXUSRVHGHVLJQV7KH\UH
good for close-ups but also as high-
JARGON BUSTER
Focus limit switch
This might just limit focus
travel to the long end 50cm
to innity, say. Switches that
can also lock at the close-up
end are more useful, while
some lenses dont have this
feature at all.
Depth of eld
The distance in front of
and behind the point of focus
where objects remain sharp.
WorldMags.net
quality prime lenses with a fairly

fast maximum aperture, typically
f/2.8 great for portraits or in low
OLJKW7KHRQO\YDULDWLRQVLQWKLV
group are the Nikon 85mm, which
is two-thirds of a stop slower at
IDQGWKH7DPURQPP
which is one stop faster at f/2.
A more crucial factor is what
focal length is going to be most
useful to you. Nikon cameras
with APSC-format sensors have
a 1.5x focal length multiplier, or
FURSIDFWRU7KH1LNRQPP
lens would therefore have an
HIIHFWLYHIRFDOOHQJWKRIPP
which is also useful for general
shooting with a fairly standard
effective focal length. Lenses of
PPHTXDWHWRPPLQWHUPV
STEP BY STEP Sharper images

Avoid blurry macro shots with a crafty camera setup
INTRODUCTION
CAMERA SKILLS
02 Focus manually
03 Shutter delay
A short duration of ash will help you avoid

camera-shake. Shoot in Manual (M), select an
exposure setting of about 1/125 sec at f/16, and
adjust the ash power manually. The built-in
ash can be used as long as youre not too close.
Its unlikely that the main point of interest in a

macro shot will line up exactly with one of the
AF points. Focus manually instead, and use Live
View with maximum magnication to make
really precise focus adjustments.
The action of the mirror ipping up immediately

prior to a shot can unsettle the camera and
cause blurred macro images. Use the Exposure
delay mode featured on most current Nikon
D-SLRs to give the camera a chance to settle.
Focal factor
Focal length is also vital for macro.
If youre shooting small bugs, for
example, a greater focal length is
7KHTXLHWQHVVRIWKHDXWRIRFXV
system can also play an important
role when youre trying to
photograph timid wildlife. All of
the Nikon lenses on test, as well
as the Sigma 105mm, feature
very quiet, ring-type ultrasonic
DXWRIRFXV7KLVDOVRKDVWKH
advantage of full-time manual
override in Single AF mode, so
you can tweak the focus setting
without switching back and forth
between auto and manual focus
RSWLRQV7KLVLVYLWDOLQPDFUR
photography because the depth
RIHOGLVH[WUHPHO\VPDOODW
the closest focus setting, which

JLYHVPD[LPXPPDJQLFDWLRQ
$WDQDSHUWXUHRIILWVMXVWD
millimetre or two, and even if you
UHGXFHWKHDSHUWXUHWRILWZLOO
still only be 4mm.
Sometimes, in macro shooting
its easiest to just use manual
focusing, to avoid the autofocus
hunting through its entire range
ZKHQPDNLQJDGMXVWPHQWV7KH
smoothness and precision of the
lens manual focus ring then
becomes very important, though
LWVVRPHWLPHVHDVLHUWRPDNHQH
adjustments to the position of the
camera instead.
Our expert team reveal the rigorous criteria they

used to rate the macro lenses in our roundup
Our two-fold testing system is
based on both real-world shooting
conditions and lab trials. The test
shots on the following pages,
accompanying each review, were
taken at an aperture of f/16, which
is ideal for macro photography. As
well as image quality, we checked
for good handling, especially in
the smoothness and precision of
manual focusing, which is critical
for macro. Overall build quality,
autofocus speed and accuracy,
and optical stabilisation (where

available) were also tested.
A full range of lab trials were
performed in controlled conditions
and included the Imatest Master
and DxO Analyser suites. Photos of
test charts were taken across the
range of apertures and analysed
for sharpness, distortion and
chromatic aberration. Results are
summarized on pages 186 and 187.
Our overall verdicts reflect the lab
tests and real-world results.
Our sophisticated tests use a combination of optical resolution charts

and mathematical analysis to deliver precise resolution gures across a
range of apertures and focal lengths
WorldMags.net
VIDEO GUIDES
preferable because the minimum

focus distance will be longer. With
a 105mm lens it will be about
35cm, but with a 40mm its only
DERXWFP7KLVPDNHVLWKDUGWR
get close enough to tiny creatures
without scaring them. In fact, its
worse than it sounds because the
focus distance is measured from
the sensor, or focal plane, at the
EDFNRIWKHFDPHUD7DNHWKHGHSWK
of the camera body and the lens
length into account, and the lens
front element can get very close to
your subject. Shorter focal lengths
DUHEHWWHUIRUFRQQHGVSDFHVDQG
ORZHUPDJQLFDWLRQV
ESSENTIAL KIT
A 1.0x magnification factor gives the potential

for enormous enlargement levels of detail are
revealed that are invisible to the naked eye
HOW WE TESTED
NIKON SOFTWARE
of angle of view, so are good for

portraits, whereas 105mm lenses
give a telephoto reach equivalent
to 157.5mm. You might think
these could be good for action
shots, but the focusing systems of
macro lenses are often low-geared
to enable the precise adjustments
UHTXLUHGIRUFORVHXSV7KDWPHDQV
autofocus can be too slow to keep
pace with fast-moving action.
NIKOPEDIA
01 Use ash
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Nikon 40mm f/2.8G

AF-S DX Micro 200, $277
Tamron 90mm f/2.8 SP

AF Di Macro 370, $500
Nikons baby macro lens is a real lightweight but

can still capture sharp, punchy images
A legend in its own lifetime, its easy to see why

this is such a popular lens among macro shooters
7KHPRVWFRPSDFWOHQV
in the group, the Nikon
40mm is even smaller and
lighter than the Nikon 18-55mm
VR supplied with cameras such
as the D3300. Conveniently for
kit lens owners, it also has the
VDPHPPOWHUWKUHDGDV
does the Nikon 85mm Micro.
7KHIURQWHOHPHQWGRHVQWURWDWH
during focusing with the 40mm,
which it does on the 18-55mm,
although it still extends as you
IRFXVIURPLQQLW\GRZQWRWKH
minimum focus distance.
When youre close-focusing,
the lens extension is a problem
at its closest setting, the front
of the lens is a mere 3.5cm from
WKHVXEMHFW7KLVZLOORIWHQFDVW
A favourite with serious

macro photographers over
WKHODVWHLJKW\HDUVWKH7DPURQ
PPKDVVWRRGWKHWHVWRIWLPH
Compatible with both full-frame
and APSC-format cameras, its
reasonably compact and only
about half the weight of the two
PPOHQVHVLQWKHJURXS7KH
front element is recessed within
the lens barrel, making the
supplied hood something youll
never need.
Unlike most lenses on test,
WKH7DPURQODFNVLQWHUQDO
focusing and almost doubles
in overall length at the closest
IRFXVVHWWLQJRIFP(YHQVR
theres much less of a problem
with casting subjects youre
whatever youre shooting into

shadow unless the main light
source is at the side or youre
XVLQJULQJDVK
Performance
Autofocus isnt particularly
fast for a ring-type ultrasonic
system, but is aided by a focus
limit switch that can lock the
UDQJHDWPWRLQQLW\'XH
partly to the compactness of the
lens, the manual focus ring is
small, and it lacks smoothness
both in autofocus override and
full manual mode. On the plus
side, sharpness, contrast and
image quality are very good.
photographing into shadow than

with the Nikon 40mm lens.
With an electric autofocus
motor theres no full-time
manual override, but a pushpull mechanism on the focus
ring makes it quick and easy to
switch between focus modes.
Performance
Excellent optical quality is
the main reason for this lens
success. Autofocus is sluggish
but the extra-long travel of the
silky smooth focus ring makes it
a joy to use for manual focusing.
7KHUHVDOVRDIRFXVOLPLWVZLWFK
on both sides of the 40cm mark.
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Between f/2.8 and f/8 this is the

sharpest lens in the test group, and its
still good at f/16
The wonderfully precise, long-travel

focus ring is a treat for manual focusing,
ensuring pin-sharp macro shots
WorldMags.net
WE SAY Build quality isnt great

but macro handling is refined and
optical results superb at the price.
INTRODUCTION
CAMERA SKILLS
With no autofocus options on many Nikon bodies,

Sigmas macro lens is very much a hands-on affair
Given the success of

7DPURQVIXOOIUDPHPP
macro lens, its natural that the
brand should try to replicate
WKHZLQQLQJUHFLSHLQDPP
lens for DX cameras. On bodies
such as the D3300 and D7100
\RXJHWDQHIIHFWLYHPPIRFDO
length in a smaller package. A
NH\GLIIHUHQFHLVWKDWWKLVPP
lens has internal focusing, so its
length doesnt increase as focus
distance decreases.
7KHPPOHQVSXVKSXOO
focus ring design is replaced
here with an AF/MF switch.
7KHDXWRIRFXVPRWRULVVWLOOD
basic electric type, so theres
no manual override and the
VZLWFKLVPRUHGGO\DQGWLPH
Put this lens on a D3300,

D5300 or any previous
Nikon bodies of this class and
\RXUUVWUHDFWLRQZLOOSUREDEO\
be that the autofocus is broken.
7KDWVEHFDXVHWKHOHQVGRHVQW
have a built-in motor so, for
autofocus, relies on the screw
drive thats only featured in
high-end bodies such as the
D7100, D300s and D800.
While this can be frustrating
for general photography, it isnt
a major downside for macro
shooting, where youd normally
use manual focusing anyway.
On the upside, the focus ring
itself is very smooth and has a
long travel that enables precise
DGMXVWPHQWV7KHIRFXVOLPLW
Performance
:KHUHDV7DPURQVPPOHQVLV
extremely sharp at its maximum
DSHUWXUHWKHPPLVE\IDUWKH
poorest in the group. It redeems
itself with good resolution in the
IWRIUDQJHZKLFKLVPRUH
appropriate for macro shooting.
However, the focus ring is
horribly stiff and jerky, making
QHDGMXVWPHQWVWULFN\ZKHQ
youre focusing manually.
switch is handy too, limiting the

range either side of about 50cm.
But again, this is only really
useful on bodies that can drive
autofocus. Without internal
focusing the lens also doubles
in length at its shortest focus
distance.
Performance
Sharpness lags behind that of
WKHVLPLODUO\SULFHG7DPURQ
PPZKHQ\RXUHVKRRWLQJDW
the largest aperture of f/2.8.
7KHUHVOHVVRIDGLIIHUHQFH
EHWZHHQIDQGIWKRXJK
Contrast is a little less inspiring
from this Sigma lens, too.
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WE SAY Optical quality could be

better and handling is poor. Its not
a patch on its 90mm big brother.
Contrast can be a little lacking from this

lens, even though things look ne in this
brightly lit shot
WorldMags.net
WE SAY Autofocus is slow or

non-existent, while image quality
is merely average at best.
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Sharpness is pretty good between f/8

and f/16, but any larger apertures are
best avoided for good results
consuming to use than the pushpull arrangement. Build quality

is nothing special, though this is
the fastest lens on test, with a
maximum aperture of f/2.
NIKON SOFTWARE
Downsized from its 90mm macro predecessor and,

unfortunately, somewhat downgraded as well
NIKOPEDIA
Tamron 60mm f/2 SP AF Sigma 70mm f/2.8 EX

Di II Macro 350, $525
DG Macro 330, $460
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Nikon 60mm f/2.8G

AF-S ED Micro 390, $540
Nikon 85mm f/3.5G AF-S

DX ED VR Micro 375, $527
An upsized equivalent of Nikons 40mm DX lens,

offering compatibility with full-frame cameras
Nikons 85mm offering is designed exclusively for

DX cameras, but at what cost?
While the Nikon 40mm

can only be used on DX
ERGLHVLWVPPEURWKHULV
equally suitable for full-frame
cameras. Indeed, it has exactly
the same focal length on an
FX body as the effective focal
length of the 40mm on a DX
body. Further similarities
include ring-type ultrasonic
autofocus and a rubber weather
seal on the mounting plate, as
featured in all the Nikons in the
group. However, only this lens
and the 40mm lack Vibration
Reduction (VR).
Unlike the Nikon 40mm,
this lens has internal focusing,
so maintains its modest length
right through to its closest focus
Downsized lenses for DX

rather than full-frame
cameras are generally smaller
and lighter. Sure enough, this
lens is only half the weight
of the big, full-frame Nikon
105mm Micro, but its still
slightly larger than the fullIUDPH7DPURQPP3DUWRI
this is due to the VR (Vibration
5HGXFWLRQV\VWHPWWHGWRWKH
Nikon, which is a mark II edition
WKDWJLYHVDIRXUVWRSEHQHWDW
least, it does at medium to long
focus distances. For macro shots,
theres practically no advantage.
/LNHWKH1LNRQPPOHQV
for full-frame cameras, this DX
optic has no focus limit switch,
but the ring-type ultrasonic
Sharpness at f/16 can be disappointing

compared with some of the cheaper
lenses on test
distance of 18.5cm. Even so, the

front of the lens comes a bit too
close for comfort to the subject,
at a distance of just 4.5cm.
Performance
Autofocus is faster on this lens
than with the Nikon 40mm,
which is perhaps why Nikon has
omitted a focus limit switch.
Manual focusing is slightly
jerky, and lacks the precision of
some of the other lenses on test.
Sharpness is also disappointing
compared with the other lenses,
especially at apertures around
IZKLFKDUHRIWHQIDYRXUHG
for macro shooting.
autofocus system is fast. As

usual, theres full-time manual
override. Also, as with all Nikon
lenses on test (apart from the
40mm), focusing is internal, so
the front element doesnt extend
at closer focusing distances.
Performance
Sharpness is impressive even at
the widest aperture, although
thats only f/3.5 this lens is
two-thirds of a stop slower
than most others in the group.
Darkened image corners are
noticeable at the maximum
DSHUWXUH7KHUHVDOVRDELWRI
barrel distortion.
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OVERALL
OVERALL
WE SAY Reasonably priced, but

the image quality and handling
arent particularly inspiring.
Shooting at f/16 gives plenty of detail

and avoids the problem of darkened
image corners at the top aperture
WorldMags.net
WE SAY Sharpness and contrast

are impressive but downsides are
vignetting and a little distortion.
INTRODUCTION
CAMERA SKILLS
Sigmas latest 105mm

macro lens feels every
inch a professional lens. It is
noticeably lighter than Nikons
105mm though and packs
plenty of advanced features,
including Sigmas four-stop
Optical Stabilisation, super-fast
ring-type ultrasonic autofocus
and internal focusing.
7UDFNLQJIDVWPRYLQJREMHFWV
is no problem for the autofocus
system. And to make full use of
this, the Optical Stabilisation
uses a dual-mode system that
includes horizontal panning.
7KHIRFXVOLPLWVZLWFK
goes one better than that on
Nikons 105mm lens, with three
positions: full focus range, 31-
Compared with the other

Nikon lenses on test, the
105mm VR offers a real step
up in terms of build quality. Its
bigger, heavier and has a much
more robust, professional feel
to it. Advances over its popular
predecessor include fourstop Vibration Reduction and
completely internal focusing, so
LWVRYHUDOOOHQJWKUHPDLQV[HG
/LNHWKH1LNRQPPOHQV
which is also compatible with
both full-frame and DX bodies,
the 105mm features Nikons new
nano crystal coating on the rear
HOHPHQW7KLVKHOSVWRUHGXFH
DUHE\PLQLPLVLQJLQWHUQDO
UHHFWLRQVZLWKLQWKHOHQV$Q
LPSURYHPHQWRYHUWKHPP
Performance
Our camera autofocused quickly
and with good resistance to
hunting, even under dull light.
7KHUHVQRWTXLWHVRPXFKWUDYHO
in the focus ring as with the
similar Nikon 105mm lens,
EXWQHDGMXVWPHQWVDUHHDV\
WRPDNH7KHULQJVRSHUDWLRQ
is smooth and precise. Optical
quality is spectacular, with
sharp images rich in contrast
and saturation even at the top
aperture. Its the sharpest lens
KHUHIRUFORVHIRFXVLQJDWI
lens, this one features a focus

limit switch, although you cant
select only the shorter end of the
range. It enables either full focus
travel or just the range between
FPDQGLQQLW\
Performance
Autofocus speed is super-fast
and the manual focus ring is
very smooth, which it isnt for
the cheaper Nikons in the group.
7KLVLVWUXHZLWKERWKIXOO\
manual focusing and manual
IRFXVRYHUULGHRIDXWRIRFXV7KH
only slight disappointment with
the lens is that the sharpness at
IFRXOGEHDOLWWOHEHWWHU
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WE SAY The perfect lens for

serious macro photographers and
equally adept at general shooting.
At a macro-friendly aperture of f/16,

sharpness is less impressive than with
most lenses in the group
WorldMags.net
WE SAY Superb build quality

and lovely handling, but sharpness
drops off at small apertures.
VIDEO GUIDES
Superb image quality is a hallmark of this

lens, and sharpness is unrivalled within
the group at f/16
45cm close-focusing and 45cm

WRLQQLW\IRUJHQHUDOVKRRWLQJ
ESSENTIAL KIT
Big and chunky with a solid build and pro feel, but
does the image quality live up to those standards?
NIKON SOFTWARE
Packed with advanced features, this is a real

heavyweight lens, with performance to match
NIKOPEDIA
Sigma 105mm f/2.8 EX DG Nikon 105mm f/2.8G AF-S

OS HSM Macro 380, $670 IF-ED VR Micro 630, $920
INTRODUCTION
QUALITY CLOSE UP
Nikon 40mm f/2.8G
AF-S DX Micro
SHARPNESS
NIKOPEDIA
CAMERA SKILLS
Find out how the macro lenses on test compare our

From f/2.8 to f/11, sharpness edges

ahead of even the Sigma 105mm, and is
still excellent at f/16.
LAB TEST
LAB TEST
FRINGING
NIKON SOFTWARE
LAB TEST
Offers great sharpness and contrast

even at the maximum aperture of f/2.8,
but performance dips at f/16.
LAB TEST
Sharpness at f/2.8
2049
Sharpness at f/3.5
2233
Sharpness at f/2.8
2400
Sharpness at f/8
2559
Sharpness at f/8
2271
Sharpness at f/8
2372
Sharpness at f/8
2313
Sharpness at f/16
2025
Sharpness at f/16
1703
Sharpness at f/16
2098
Sharpness at f/16
1910
F/2.8
Fringing is slightly higher than

average for a macro prime lens, but only
towards the corners of the frame.
F/3.5
Chromatic aberration is basically a

non-issue, even when there are very
high-contrast edges in a scene.
LAB TEST
F/2.8
As with the Nikon 60mm lens theres

practically no visible colour fringing,
even towards the corners of the frame.
LAB TEST
Theres some noticeable colour

fringing at the corners of the frame,
throughout the whole aperture range.
LAB TEST
Fringing at f/2.8
0.33
Fringing at f/2.8
0.17
Fringing at f/3.5
0.17
Fringing at f/2.8
0.65
Fringing at f/8
0.45
Fringing at f/8
0.14
Fringing at f/8
0.2
Fringing at f/8
0.5
Fringing at f/16
0.57
Fringing at f/16
0.18
Fringing at f/16
0.16
Fringing at f/16
0.59
F/2.8
DISTORTION
Sharpness is good throughout the

aperture range, but the maximum
aperture is smaller than usual.

IF-ED VR Micro
2471
LAB TEST
ESSENTIAL KIT
Its quite disappointing at small

apertures around f/16, which is a real
drawback for macro shooting.

DX ED VR Micro
Sharpness at f/2.8
F/2.8
F/2.8
Theres very marginal pin-cushion

distortion, but its barely noticeable in
images and not really an issue.
LAB TEST
Distortion
VIDEO GUIDES
Nikon 60mm f/2.8G

AF-S ED Micro
F/3.5
Theres practically no distortion at all,

with the Nikon 60mm achieving the best
test score in the group.
LAB TEST
0.12

The baby Nikon delivers excellent
image quality, but the short focal
length of 40mm makes it impractical
for many common macro scenarios.
Distortion
Barrel distortion is noticeable, and in

this respect the lens returned the worst
score in the group.
LAB TEST
0.02

Excellent in terms of colour fringing
and distortion, the Achilles heel is its
sharpness at small apertures, which is
vital for macro shooting.
F/5.6
Distortion
LAB TEST
-0.56

Good for sharpness and absence of
colour fringing, the Nikon 85mm is let
down by a poor level of distortion and
noticeable vignetting.
WorldMags.net
The lens does show some barrel

distortion, but its not very apparent
compared with that from other lenses.
Distortion
-0.2

The Nikon 105mm delivers extremely
pleasing results but isnt quite as
excellent as the equivalent Sigma
105mm lens.

performance: sharpness,
LAB TEST
Sigma 105mm f/2.8 EX DG

OS HSM Macro
Excellent sharpness from f/2.8 down

to f/16 makes this a superb lens for both
general shooting and macro work.
LAB TEST
Fringing
Distortion
(low scores are

better)
Our real-world test
Tamron 60mm f/2 SP

AF Di II Macro
(scores closest
to 0 are best)
The shots of the
Tamron 90mm f/2.8

SP AF Di Macro
Theres a major lack of sharpness

when you shoot at f/2 and f/2.8. The lens
doesnt get into its stride until f/5.6.
LAB TEST
The compact yet competent Tamron

delivers great sharpness and contrast,
even at its largest aperture of f/2.8.
LAB TEST
Sharpness at f/2.8
1791
Sharpness at f/2.8
2308
Sharpness at f/2
532
Sharpness at f/2.8
2214
Sharpness at f/8
2320
Sharpness at f/8
2413
Sharpness at f/8
2346
Sharpness at f/8
2241
Sharpness at f/16
2002
Sharpness at f/16
2241
Sharpness at f/16
2027
Sharpness at f/16
2079
F/2.8
F/2.8
LAB TEST
Colour fringing is only occasionally

noticeable at the very corners of the
frame, and even then its minimal.
LAB TEST
F/2.8
Noticeable colour fringing can be

problematic outside the centre of the
frame, and is quite poor in the corners.
LAB TEST
Theres a little colour fringing at the

extreme corners of the frame but its
not generally noticeable in images.
LAB TEST
0.17
Fringing at f/2.8
0.32
Fringing at f/2
0.79
Fringing at f/2.8
0.43
Fringing at f/8
0.12
Fringing at f/8
0.24
Fringing at f/8
0.28
Fringing at f/8
0.19
Fringing at f/16
0.13
Fringing at f/16
0.25
Fringing at f/16
0.3
Fringing at f/16
0.16
F/3
Its not the best in the group, but with

only slight pin-cushion distortion its not
too far behind the leaders.
LAB TEST
Distortion
F/2.8
Lab tests reveal the tiniest bit of

barrel distortion but its practically
impossible to see in images.
LAB TEST
0.17
Visible barrel distortion is a flaw, the

Tamron delivering lab figures almost as
bad as those from the Nikon 85mm.
LAB TEST
-0.09

With superb results for everything
from full macro close-ups to general
long-distance shooting, the Sigma is a
real star performer.
Distortion
The lens is low on distortion theres

a hint of pin-cushion but you have to
look quite hard to see it.
LAB TEST
-0.55
Distortion
Disappointing in almost every

respect, the Tamron 60mm has the
worst all-round image quality of the
lenses in our test.
WorldMags.net
0.14
Tamrons 90mm boasts an overall

image quality that would be good at
any price, and is even more appealing
considering the lens low cost.
VIDEO GUIDES

This lens works quite well as a macro
optic, but the lack of sharpness and
contrast at large apertures is less
than ideal for close-up shots.
Distortion
F/2.8
ESSENTIAL KIT
Fringing at f/2.8
F/2.8
NIKON SOFTWARE
Chromatic aberration is controlled

very well. Theres no real evidence of
colour fringing within test images.
F/2
NIKOPEDIA
Theres a lack of sharpness when

shooting at the maximum aperture, but
things improve at f/5.6 and beyond.
(high scores are

better)
Our real-world
resolution test uses a standard ISO 12233
SFR chart. The point where lines merge is
the maximum resolution (line widths per
CAMERA SKILLS
Sigma 70mm f/2.8

EX DG Macro
Sharpness
INTRODUCTION
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ESSENTIAL KIT
VIDEO GUIDES

COMPARISON TABLE
Nikon 40mm f/2.8G
AF-S DX Micro
Nikon 60mm f/2.8G Nikon 85mm f/3.5G

AF-S ED Micro
AF-S DX ED VR Micro
Nikon 105mm f/2.8G Sigma 70mm f/2.8

AF-S IF-ED VR Micro EX DG Macro
Sigma 105mm f/2.8

EX DG OS HSM Macro
Tamron 60mm f/2

SP AF Di II Macro
Tamron 90mm f/2.8

SP AF Di Macro
WEBSITE
nikon.com
nikon.com
nikon.com
nikon.com
sigmaphoto.com
sigmaphoto.com
tamron.com
tamron.com
STREET PRICE
200, $277
390, $540
375, $527
630, $920
330, $460
380, $670
350, $525
370, $500
DX/FX
DX
FX
DX
FX
FX
FX
DX
FX
EQUIV FOCAL LENGTH (APS-C)
60mm
90mm
127.5mm
157.5mm
105mm
157.5mm
90mm
135mm
APERTURE RANGE
f/2.8 to f/22
f/2.8 to f/32
f/3.5 to f/32
f/2.8 to f/32
f/2.8 to f/22
f/2.8 to f/45
f/2 to f/22
f/2.8 to f/32
IMAGE STABILISATION
None
None
Four-stop
Four-stop
None
Four-stop
None
None
HOW THE
MACRO LENSES
COMPARE
AUTOFOCUS ACTUATOR
No internal motor
Electric (motor)
Electric (motor)
INTERNAL FOCUS
No
Yes
Yes
Yes
No
Yes
Yes
No
MIN FOCUS DISTANCE
16.3cm
18.5cm
28.5cm
31.4cm
25cm
31.5cm
23cm
29cm
1.0x
1.0x
1.0x
1.0x
1.0x
1.0x
1.0x
1.0x
FILTER SIZE
52mm
62mm
52mm
62mm
62mm
58mm
55mm
55mm
Hood, pouch
Hood, pouch
Hood, pouch
Hood, pouch
Hood, pouch
Hood, pouch
Hood
Hood, pouch
69x65mm
73x89mm
73x99mm
83x116mm
76x95mm
80x150mm
73x80mm
72x97mm
WEIGHT
235g
425g
355g
790g
527g
460g
400g
405g
FEATURES
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VALUE FOR MONEY
OVERALL
10
things
we
learnt
in
this
test
Detail matters with macro lenses, so heres what to look for
1
Stopping power
Stand clear
In the way
7KHPD[LPXPDYDLODEOHDSHUWXUHRI
macro lenses decreases as you approach the
shortest focus setting. In most cases, its by
one or two stops.
A focal length of about 85-105mm

is ideal for most types of outdoor macro,
enabling you to stay at a reasonable working
distance from your subject.
:KHQXVLQJPPRUPPOHQVHV
at their minimum focus distance, youll often
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the subject that it blocks the light source.
Under the hood
Lens hoods are good for general

outdoor shooting but often cast a shadow
over subjects in macro photography,
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Circle of light
Shaky situations
$VSHFLDOLVWULQJDVKZKLFKWV
around the front of the lens, provides highly
effective illumination for macro shots.
While image stabilisation

is useful for more general
shooting, especially when
youre using smaller
apertures, its of practically no
EHQHWIRUH[WUHPHFORVHXSV
Staying put
Macro lenses
that feature internal
focusing are easier to
use in close-up work
as you dont need
to worry about
the front element
extending towards
your subject.
WorldMags.net
Stand and deliver
Handheld macro shooting is hard if

you move the camera even a millimetre the
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means a tripod is useful.
Further aeld
When youre using the closest

focus setting to get full 1.0x macro
PDJQLFDWLRQWKHPLQLPDOGHSWKRIHOG
means its often better to shoot subjects
from further away and then crop the
results as necessary.
10
The sharp end
Manual focus is often

the only effective way to get
the most crucial part of an
object really sharp. Using
Live View with maximum
PDJQLFDWLRQLVDJUHDW
way of setting focus with the
utmost precision.
THE WINNER IS...
CAMERA SKILLS
Sigma 105mm f/2.8

EX DG OS HSM Macro
Sigma comes up trumps with its new
and dramatically upgraded macro lens
LPDJHTXDOLW\LVZKDWPDWWHUVPRVW7KHUHV
not much to distinguish the Sigma and
Nikon 105mm lenses, but the Sigma wins
with class-leading sharpness at small
apertures, ideal for macro shooting. It also
has less colour fringing and distortion.
Breaking the bank

Whats good Supreme image quality, speedy
and accurate autofocus, refined handling and
great build quality.
Whats bad Its the heaviest lens in the group,
and the most expensive.
Our verdict If youre serious about your macro
photography, this is the ultimate lens for the job.
OVERALL
Tamron 90mm f/2.8 SP

AF Di Macro
Whats good Excellent build quality, effective

Vibration Reduction and very fast autofocus.
Whats bad Cant quite match the Sigma 105mm
for image quality, especially at small apertures.
Our verdict One of Nikons top macros, it offers
professional quality.
Whats good Good sharpness and contrast, plus

quite a compact and lightweight DX build.
Whats bad Noticeable barrel distortion, while
vignetting is poor at large apertures.
Our verdict A good lens at the price, but for very
close-up shots the Tamron 90mm has the edge.
Whats good Superb all-round image quality and

very precise manual focusing.
Whats bad Autofocus is quite slow and noisy,
while build quality isnt overly robust.
Our verdict For spectacular image quality at a
bargain price, the Tamron is unbeatable.
OVERALL
OVERALL
OVERALL

WorldMags.net
VIDEO GUIDES

DX ED VR Micro
ESSENTIAL KIT

IF-ED VR Micro
NIKON SOFTWARE
7KHRQO\ZHDNQHVVRIWKH6LJPDPPLV
that it is more expensive than many macro
lenses. It really does justify its price tag, but
WKHUHDUHEDUJDLQVWREHKDGHOVHZKHUH7KH
7DPURQPPKDVHDUQHGDJUHDWUHSXWDWLRQ
as a macro lens and, with superb image
TXDOLW\DQGUHQHGPDQXDOIRFXVLQJIRU
close-up shooting, its unbeatable value at
the price. However, while the Sigma 105mm
DQG7DPURQPPOHQVHVDUHWZRRIWKH
best in the group, the Sigma 70mm and
7DPURQPPDUHWKHOHDVWLPSUHVVLYH
NIKOPEDIA
Launched last year, the optically

stabilised Sigma 105mm is a wishlist
come true for macro photographers. It
has fully internal focusing, so theres no
extension of the lens barrel at short focus
GLVWDQFHV7KH+60+\SHU6RQLF0RWRU
autofocus is practically silent, very fast and
extremely accurate. Manual focusing is
wonderfully smooth and precise too, which
is something that cant always be said for
ring-type ultrasonic focus systems.
7KHIRFXVULQJVLQWKH1LNRQPP
PPDQGWRDOHVVHUH[WHQWPPOHQVHV
DUHDOODELWVWLIIDQGMHUN\7KLVPDNHVYHU\
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on the Sigma. However, the Nikon 105mm
has a smoother focus ring.
7KH6LJPDPPVKDQGOLQJLV
supremely good, and its optical stabiliser
works well in general shooting. However,
INTRODUCTION
INTRODUCTION
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CAMERA SKILLS
6
4
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
SUPER
TELEPHOTOS
Put some power into your telephoto reach with a lens that
really covers the distance. Want a focal length of
400mm? We put the top contenders through their paces
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INTRODUCTION
WorldMags.net
THE CONTENDERS
1 Samyang 500mm f/6.3 MC IF Mirror 155, $140
3 Sigma 120-400mm f/4.5-5.6 DG OS HSM 640, $900

8
4 Sigma 150-500mm f/5-6.3 DG OS HSM 730, $870
5 Nikon 80-400mm f/4.5-5.6D AF ED VR 1900, $2700
6 Sigma 50-500mm f/4.5-6.3 DG OS HSM 1000, $1500
7 Nikon 70-200mm f/2.8G AF-S ED VR II 1600, $2400
CAMERA SKILLS
2 Samyang 800mm f/8 MC IF Mirror 195, $200
8 Sigma 120-300mm f/2.8 EX DG OS HSM 2800, $2700
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
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INTRODUCTION

EQUIPMENT KNOW-HOW
VIDEO GUIDES
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CAMERA SKILLS

The specifications that can
make for an ideal long tom
Telephoto power
Autofocus
Outright telephoto reach is often the main

concern with super-telephotos, but its worth
considering a lens that has a shorter focal
length but is compatible with a teleconverter.
Youll get two lenses in one.
A good turn of speed from the autofocus

system makes it easier to keep pace with
moving targets. This is good for anything
from shooting motor sports to tracking birds
in flight.
Zoom range
Tripod collar
Along with telephoto power, a good zoom

range adds versatility. Youll be able to take
shots at shorter focal lengths without wasting
time swapping lenses, which is important for
sports and wildlife photography.
Most super-telephoto lenses are too heavy

to attach to a tripod via a camera body. A
tripod collar will fit around the lens barrel,
centralising the weight to enable safe use
with a tripod or monopod.
Image stabilisation
Size and weight
Effective optical stabilisation makes a huge

difference to handheld shooting with a
super-telephoto. Without it, camera-shake is
an ever-present danger and you can expect
blurry results a lot of the time.
Some of the heaviest lenses in this test are

uncomfortable for prolonged handheld use.
Size and weight are key considerations if,
for example, youll be standing in a crowded
spectators area at a sporting event for hours.
ts time to wheel out

the big guns. Most of the
lenses in this group are
designed with one thing in mind
bringing serious telescopic power
to your D-SLR. As such, theyre
weighty beasts, tipping the scales
at anything up to 3kg. Many are
more than 20cm long even at their
shortest zoom settings.
The Nikon 70-200mm and
Sigma 120-300mm lenses arent
particularly powerful in terms of
telephoto reach, but have a secret
weapon in the form of a fast, f/2.8
maximum aperture. However,
theyre in the same size and weight
bracket as the Sigma 120-400mm
and 150-500mm.
Indeed, the Sigma 120-300mm
is the heaviest lens in the test
group. The bonus is that they
enable fast shutter speeds and a
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the background in standard
trim. Meanwhile, theyre also
fully compatible for use with
teleconverters. For example,
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Nikon 70-200mm and youll get
a 140-400mm zoom range, albeit

with a more pedestrian effective
maximum aperture of f/5.6.
Yet another diversion comes
in the form of mirror lenses. The
Samyang 500mm and 800mm
mirror optics are comparatively
lightweight and measure just
120mm and 145mm in length
respectively. Mirror lenses
offer considerable cost-savings
compared with conventional prime
and zoom lenses, although there
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as we describe in the reviews on
the following pages.
Going the distance

So why buy a super-telephoto lens?
Well, theyre ideal if you want to
shoot things you simply cant get
close to. The most popular subjects
include wild animals and birds,
as well as action sports. That
makes them a tempting summertime proposition, and especially
so this year, with the World Cup
on its way to Brazil. When youre
physically removed from the action
and limited to a spectators area,
JARGON BUSTER
D-type
Nikons older D-type
lenses have an aperture ring
at the base of the lens. This
is superuous for D-SLRs,
and needs to be locked at its
smallest aperture.
Teleconverter
This is an add-on optic that
sits between the camera
body and a compatible lens.
Popular options include 1.4x,
1.7x and 2.0x, which reduce
the maximum available
aperture by one, 1.5 and
two stops respectively.
Teleconverters increase
focal length.
WorldMags.net
a super-telephoto is essential for

covering the distance.
All of the lenses on test are fully
compatible with full-frame (FX)
cameras such as the D800, and
are even more powerful on bodies
that have an APS-C format (DX)
image sensor, such as the D7100.
Thanks to the 1.5x focal length
multiplier (or crop factor), a lens
with a maximum reach of 500mm
becomes equivalent to a 750mm
lens on a full-frame camera. Even
a more modest 400mm lens jumps
to a whopping 600mm. If you
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the Sigma 120-300mm lens youd
get an enormous 900mm effective
focal length on a DX camera.
For fast-moving wildlife and
sporting action, quick autofocus
is a must. The fastest systems are
generally ring-type ultrasonic
ones, as in the Nikon 70-200mm
and all Sigma lenses in the group.
7KHVHWXSUHOLHVRQWZRULQJVWWHG
just inside the circumference of
the lens barrel. These are driven
at an ultrasonic frequency of about
30kHz. Its not a guarantee of
STEP BY STEP TELECONVERTERS AND TRIPODS

Heres how to safely use a teleconverter and tripod, and get sharper images
INTRODUCTION
CAMERA SKILLS
02 Attach to a tripod
03 Use Shutter Priority
Check that your lens and teleconverter are

compatible if theyre not the right t, you
might damage both of them. Mount the lens on
the teleconverter, switch off your camera and
mount the teleconverter and lens onto it.
A tripod collar centralises the weight of the

camera and lens. For portrait-orientation shots,
loosen the tripod collars locking screw. Rotate
the lens and camera within the collar, rather
than using the tripod heads swivel facility.
Switch to Shutter Priority (S) mode and set a

fast shutter speed to minimize motion blur as
well as camera-shake. The Auto ISO function
will be handy as it increases the sensitivity as
necessary in dull lighting conditions.
Stabilisation (OS). These are based

on an additional group of elements
built into the lens. Motion sensors
detect any vibration or shake in
the lens, and microprocessorcontrolled servo motors move the
VR or OS elements to keep the
overall optical path stable.
The latest stabilisation systems
from Nikon and Sigma give a
four-stop advantage in beating
camera-shake, which makes
handheld shooting with a supertelephoto more feasible. However,
Most of the lenses in this group test are

designed with one thing in mind bringing
serious telescopic power to your D-SLR
Hold steady

used to rate the super-telephoto lenses in our test
As part of our testing, we use
lenses in real-world shooting
conditions. We examine build
quality and handling, and check
zoom and focus ring smoothness.
We test image stabilisation modes,
autofocus speed and accuracy, and
resistance to ghosting and flare.
We then run a full range of lab
trials under controlled conditions,
using the Imatest Master and DxO
Analyzer suites. Photos of test
charts are taken across the range
of apertures and focal lengths and

analysed for sharpness, distortion
and chromatic aberration (colour
fringing). You can see our image
198 and 199, but bear in mind that
these are summaries. We also take
apertures and zoom settings into
consideration.
Finally, we combine the lab
Our sophisticated tests use a combination of optical resolution charts

and mathematical analysis to deliver precise resolution gures across a
range of apertures and focal lengths
WorldMags.net
VIDEO GUIDES
Another factor that has a massive

effect on super-telephoto sharpness
is camera-shake. Like macro
lenses, super-telephotos are very
sensitive to movement, so blurred
results are all too common. The
most effective mechanism for
combating the problem is an
image-stabilising system such as
Nikons Vibration Reduction (VR),
or Sigmas competing Optical
no amount of stabilisation can

counteract the movement of the
people or objects being shot, so
for sports or wildlife youll often
need to increase the ISO setting to
enable fast shutter speeds.
The need for fast shutter
speeds demands a lens that can
produce good image quality at its
largest available aperture. This is
especially true with lenses where
that aperture is a fairly small f/5.6
or f/6.3 at the long end of the
zoom range. In top-quality optics
such as the Nikon 70-200mm and
Sigma 120-300mm, the maximum
aperture is not only faster at f/2.8
but remains constant throughout
the zoom range.
ESSENTIAL KIT
camera bodies have no internal

autofocus motor to drive the lens,
so focusing is a strictly manual
affair. Worst of all, neither of
the Samyang lenses on test can
autofocus on any camera body.
HOW WE TESTED
NIKON SOFTWARE
speed, and some ring-type systems

are faster than others. However,
all the ultrasonic AF lenses in this
group have very fast autofocus.
the Nikon 80-400mm D-type
lens has no built-in autofocus
system. Instead, it relies on the
screw-drive built into the camera.
This makes for sluggish autofocus
on cameras such as the D7000,
D300s and D800. Things get worse
with the D3200 and D5100, and
predecessors in their class. These
NIKOPEDIA
01 Fit the converter
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Samyang 500mm f/6.3

MC IF Mirror 155, $140
Samyang 800mm f/8 MC

IF Mirror 195, $200
Its a trick done with mirrors, but can the Samyang

really compete with proper super-telephoto lenses?
Its large for a mirror lens, but this Samyang offers

the biggest reach out of the whole test group
This Samyang gives even

greater reach than a Nikon
70-200mm optic coupled with
a 2x teleconverter. Its also so
cheap by comparison that you
could buy no fewer than 16
Samyang lenses for the same
price as the Nikon combination.
So wheres the catch?
Both Samyang lenses in this
test group are mirror lenses.
Instead of having the usual
collection of optical elements,
they rely on curved mirrors
that bounce light back and
forth within the lens. This
creates similar telescopic power
to that of telephoto lenses
but in a much shorter, more
lightweight package. Limitations
Like the smaller Samyang

on test, this mirror lens
attaches to the camera via a
screw-on adaptor that lacks any
electronic connections. It feels
like a throwback to the last
century, and is a strictly manual
DIIDLU7KHUHVQRQHU\VXFKDV
autofocus or image stabilisation,
and you have to adjust shutter
speeds manually for correct
H[SRVXUHVDWWKH[HGDSHUWXUH
which is a small f/8.
At least you can use the
cameras light metering
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the appropriate shutter speed.
Overall, though, using the lens
is a long-winded and confusing
procedure that makes it
Theres no shortage of reach, but

sharpness and contrast are lacking
of the design include the lack of

autofocus and the impossibility
RIWWLQJDGLDSKUDJP7KLV
means you cant adjust the
DSHUWXUH[HGDWIKHUH
Performance
The whole of the outer lens
barrel rotates during focusing,
but in the absence of autofocus
its rubberised central section
offers the most assured grip
for manual focus adjustments.
The action is quite smooth and
precise, but focusing can still
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disappointing, with the same
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unsuitable for fast-paced sports

or wildlife photography.
Performance
The 800mm produces slightly
sharper images than Samyangs
500mm mirror lens but still
lags behind the other lenses
on test. Contrast is lacking too,
while accurate focusing is more
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Samyang 500mm, requiring tiny
movements of the outer barrel.
Theres no denying that both of
the Samyang lenses are cheap.
%XWXOWLPDWHO\WWLQJWKHPWR
any Nikon D-SLR is like hitching
a farmyard cart to a racehorse.
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OVERALL
OVERALL
WE SAY Its a very cheap lens but

dont expect fancy features or
impressive image quality.
The resolution of ne detail is poor, and

images often look lifeless and bland
WorldMags.net
WE SAY A very long focal length

for minimum outlay, but the lens is
ultimately a disappointment.
INTRODUCTION
CAMERA SKILLS
The smallest, most

lightweight and cheapest
Sigma lens in this group, the
120-400mm super-telephoto
still has the same ring-type
autofocus and dual-mode
RSWLFDOVWDELOLVHUWKDWDUHWWHG
to its more expensive siblings.
Its lacking in reach compared
with Sigmas 50-500mm and
150-500mm, but is a third of
a stop faster at its maximum
telephoto zoom setting.
Its compatible with Sigmas
1.4x and 2.0x teleconverters,
although autofocus becomes
unavailable. At least you still get
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without a teleconverter, the
Looking every inch a

super-sized version of the
Sigma 120-400mm lens, this
optic is about 50mm longer
and 140g heavier. Even so,
the weight of 1.78kg is still
manageable for handheld
shooting. As with all other
Sigma lenses on test, the
dual-mode stabiliser can be
switched manually, for static
shots or horizontal panning.
As with the other Sigma
lenses on test, the mounting
base of the tripod collar has
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However, its more comfortable
to rotate the ring so the base is
at the top, and to support the
lens barrel itself. Theres no
Performance
The autofocus system is superfast, matching that of the
Nikon 70-200mm and Sigma
50-500mm. The smooth and
precise action of the focus ring
makes full-time manual override
easy and effective. Theres very
little pin-cushion distortion
throughout the zoom range at
the telephoto end its the least
noticeable of any Sigma in the
group. Sharpness and contrast
are also pretty impressive.
need to worry about fouling the

action of the focus ring with
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during autofocus.
Performance
Autofocus is near-silent and
quick. However, its marginally
slower than with the Sigma
50-500mm and 120-400mm
lenses. Sharpness is excellent
throughout most of the zoom
range, dropping off a little at
500mm. Pin-cushion distortion
is slightly worse than with the
Sigma 120-400mm, but both
lenses control distortions better
than the Nikon 80-400mm.
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OVERALL
OVERALL
WE SAY The size and weight of

this lens are manageable, and
performance is good for the price.
Image quality is excellent, with plenty

of sharpness and contrast on offer
WorldMags.net
WE SAY For really powerful

telephoto reach on a tight budget,
this Sigma lens is unbeatable.
VIDEO GUIDES
Sharpness is better than with either of

the Nikon lenses at 400mm
effective reach is impressive, at

600mm on cameras with APS-C
format sensors.
ESSENTIAL KIT
Very similar to the Sigma 120-400mm

super-telephoto, but with added power
NIKON SOFTWARE
Big on upmarket features and reasonably small in

size while still managing to be kind to your wallet
NIKOPEDIA
Sigma 120-400mm f/4.5- Sigma 150-500mm f/5-6.3

5.6 DG OS HSM 640, $900 DG OS HSM 730, $870
INTRODUCTION
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NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Nikon 80-400mm f/4.55.6D AF ED VR 1900, $2700
Sigma 50-500mm f/4.56.3 DG OS HSM 1000, $1500
Is there still life in this ageing 80-400mm

super-telephoto, or has this Nikon had its day?
This Sigma reigns supreme in terms of zoom range,

but what price does the image quality pay?
Designed more than a

decade ago for 35mm
OPFDPHUDVWKHPP
VR features an old-style D-type
mount, with an aperture ring
thats redundant on D-SLRs.
Theres no built-in autofocus, so
the lens relies on a screw-drive
from the camera body. This isnt
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previous cameras in their class,
making autofocus unavailable.
7KH95V\VWHPLVDOVRUVW
generation, and only offers a
three-stop advantage, although
it does have automatic panning
detection. Instead of the Normal
and Active modes of recent VR
systems, the two modes here
apply stabilisation only when the
Nicknamed the Bigma,

the original version of this
lens has been updated and now
sports Sigmas four-stop optical
stabiliser. This makes getting
sharp handheld shots much
easier. Its still a heavyweight
lens at almost 2kg, and is
heavier than both the Sigma
120-400mm and 150-500mm
lenses on test.
The mighty 10x zoom range
is the main attraction here. Its a
real plus point when you want to
zoom out to more standard focal
lengths without having to waste
time changing lenses. However,
the 50-500mm is much more
expensive than Sigmas 150500mm lens, and nearly twice
Sharpness could be better at 400mm,

and pin-cushion distortion is noticeable
shot is taken, or show the effect

WKURXJKWKHYLHZQGHU7KH
latter really drains the battery.
Performance
Put the 80-200mm on a D7100,
D300s or full-frame body and
autofocus is very slow compared
with all other AF lenses in the
group. It struggles to keep pace
with moving targets, and the
only solution is to pre-focus on
a point the target is likely to
move into. Sharpness is pretty
good at the 80mm end of the
zoom range, but drops off
noticeably through mid-range
and longer settings.
the price of the companys 120400mm offering.
Performance
Distortion is remarkably well
controlled. Theres some barrel
distortion at the 50mm end of
the range, and a pin-cushion
effect at mid-range and long
focal lengths. But these are less
noticeable than with the Nikon
80-400mm. In both cases,
distortions are less pronounced
than with most standard
zooms, such as the Nikon
17-55mm. Autofocus is superfast, and sharpness is very good
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OVERALL
WE SAY This cant match the

cheaper Sigmas for image quality,
autofocus speed or stabilisation.
Sharpness isnt as good as the Sigma

150-500mm at the longest zoom setting
WorldMags.net
WE SAY Offers more zoom range

than the Sigma 120-400mm and
150-500mm optics, but is pricier.
INTRODUCTION
CAMERA SKILLS
Performance
Autofocus speed is rapid with
or without a teleconverter,
but the largest effective
aperture shrinks to f/5.6 with
the converter. The biggest
disappointment is that with the
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is worse than with the Nikon
80-400mm at short and midrange zoom settings. Its only
fractionally better at 400mm.
The biggest and heaviest

lens in the group, the
Sigma 120-300mm is 289mm
long and weighs in at just under
3kg. Thanks to its internal
zoom mechanism, its hardly
any longer than the Sigma
120-400mm at its maximum
telephoto zoom setting, but is
nearly double the weight.
Youll also need Sigmas 1.4x
teleconverter to give it a similar
reach of 420mm. Either way,
the lens is too heavy to use
handheld for long periods of
time, even if its four-stop image
stabiliser works very effectively.
The combined cost of the
lens plus the teleconverter is
$3430, but for this you get a
fast, constant-aperture f/2.8

lens up to 300mm, and a larger
than average f/4 with the
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168-420mm zoom range.
Performance
The autofocus isnt as rapid as
in Nikons 70-200mm or Sigmas
50-500mm and 120-400mm,
but its very fast. Compared to
the Nikon 70-200mm with a 2x
teleconverter, theres much less
impact on image quality when
you use a converter. Sharpness
remains excellent throughout
the zoom range, with only a
slight increase in colour fringing.
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OVERALL
WE SAY Great on its own, the

70-200mm is somewhat less stellar
with a 2x teleconverter attached.
Theres very little drop in image quality

when you pair the lens with a converter
WorldMags.net
WE SAY Excellent quality with or

without a teleconverter, but too
heavy for prolonged handheld use.
VIDEO GUIDES
With a 2x teleconverter, image quality is

worse than that from Nikons 80-400mm
Teleconverter III. This extends

the physical length of the lens by
45mm and doesnt have a rubber
weather seal. Its expensive,
though, costing $470.
ESSENTIAL KIT
The 70-200mm telephoto

range and fast f/2.8
aperture thats constant
throughout the zoom range
make this lens popular with
professionals. Image quality is
spectacular too, with excellent
sharpness and contrast. Its
matched by fully professional
build quality, including a rubber
seal on the mounting plate.
At 206mm long and just over
1.5kg, the lens is manageable.
The zoom mechanism is fully
internal, so the lens doesnt
extend physically at longer focal
lengths. However, to boost the
Nikons reach to a 140-400mm
super-telephoto range, you
QHHGWRWD1LNRQ7&($)6
NIKON SOFTWARE
A stunning 70-200mm lens, but can it still come up A real heavyweight in the test group, Sigmas new
trumps with a teleconverter fitted?
120-300mm will give you a workout in the field
NIKOPEDIA
Nikon 70-200mm f/2.8G Sigma 120-300mm f/2.8

AF-S ED VR II 1600, $2400 EX DG OS HSM 2800, $2700
INTRODUCTION
LONG SHOTS
SHARPNESS
NIKOPEDIA
CAMERA SKILLS
Find out how the super-telephotos on test compare

our detailed lab results separate the best from the worst

AF-S ED VR II (2x TELE)
Nikon 80-400mm
f/4.5-5.6D AF ED VR
Samyang 500mm
f/6.3 MC IF Mirror
Samyang 800mm
f/8 MC IF Mirror
400MM f/8
400MM f/8
500MM f/8
800MM f/8
Fitting Nikons 2x teleconverter

degrades sharpness to levels worse than
with any Sigma lens in the group.
LAB TEST
LAB TEST
FRINGING
LAB TEST
Its marginally sharper than the

Samyang 500mm mirror lens, but its still
very uninspiring.
LAB TEST
1682
Sharpness at wide
1753
Sharpness at wide
N/A
Sharpness at wide
N/A
Sharpness at mid
815
Sharpness at mid
1266
Sharpness at mid
N/A
Sharpness at mid
N/A
Sharpness at tele
934
Sharpness at tele
879
Sharpness at tele
283
Sharpness at tele
389
F/5.6
Theres little colour fringing without the

teleconverter, but with one fitted its the
worst lens on test at 400mm.
F/6.3
Worse than average through the zoom

range, colour fringing is most noticeable at
the longest available focal length.
LAB TEST
LAB TEST
F/8
Colour fringing is the second-worst in

the group, behind the Nikon 70-200mm
and its 2x teleconverter at 400mm.
Colour fringing isnt too bad compared

with results for other lenses in the group
at their telephoto settings.
LAB TEST
LAB TEST
Fringing at wide
0.21
Fringing at wide
0.38
Fringing at wide
N/A
Fringing at wide
N/A
Fringing at mid
0.16
Fringing at mid
0.43
Fringing at mid
N/A
Fringing at mid
N/A
Fringing at tele
1.33
Fringing at tele
0.74
Fringing at tele
1.02
Fringing at tele
0.86
F/5.6
DISTORTION
NIKON SOFTWARE
ESSENTIAL KIT
Theres a real lack of resolution from

this mirror lens, resulting in a loss of fine
detail in images.
Sharpness at wide
F/5.6
F/5.6
Distortions are minimal, and when you

fit the teleconverter theres practically no
distortion at mid and long zoom settings.
LAB TEST
VIDEO GUIDES
A decent performer at 80mm, but

sharpness drops off progressively through
the zoom range, and is poor at 400mm.
F/6.3
Theres barrel distortion at 80mm,

switching over to a pin-cushion effect at
medium to long zoom settings.
LAB TEST
F/8
Theres very little distortion, with only

slight pin-cushion in evidence. Its the only
strong point of the lens.
LAB TEST
Pin-cushioning is more noticeable than

with the Samyang 500mm but still less
than with some of the lenses on test.
LAB TEST
Distortion at wide
0.25
Distortion at wide
-0.83
Distortion at wide
N/A
Distortion at wide
N/A
Distortion at mid
-0.06
Distortion at mid
0.71
Distortion at mid
N/A
Distortion at mid
N/A
Distortion at tele
Distortion at tele
0.96
Distortion at tele
0.31
Distortion at tele
0.53

This lens would get a five-star rating
on its own but only merits three points
when used with the 2x teleconverter.
Weve averaged this out to four stars.

The old-school Nikon 80-400mm has
now been overtaken by the newer
Sigma lenses in all aspects of image
quality.

Very disappointing in terms of
sharpness and contrast. Proof that
mirror lenses are a poor substitute for
proper super-telephotos.
WorldMags.net

Typically for a mirror lens, theres a lack
of sharpness and contrast in the final
images, which is the price you pay for
such significant cost-savings.

performance: sharpness,
Sharpness
(high scores are
better)
Our real-world test
uses a standard ISO 12233 resolution
chart. The point where lines merge is the
maximum resolution (line widths per
Fringing
Distortion
(low scores are

better)
Our real-world test
(scores closest
to 0 are best)
The shots of the
Sigma 120-300mm f/2.8 EX

DG OS HSM (1.4x TELE)
Sigma 120-400mm
f/4.5-5.6 DG OS HSM
Sigma 150-500mm
f/5-6.3 DG OS HSM
500MM f/8
420MM f/8
400MM f/8
500MM f/8
LAB TEST
Excellent on its own, the Sigma

120-300mm still offers the best average
sharpness with a 1.4x teleconverter fitted.
LAB TEST
Most impressive at mid-zoom settings,

this lens still offers decent sharpness at
the shortest and longest focal lengths.
LAB TEST
Very impressive throughout most of the

zoom range, with plenty of sharpness still
on offer at the 500mm focal length.
LAB TEST
Sharpness at wide
1855
Sharpness at wide
2149
Sharpness at wide
1146
Sharpness at wide
2299
Sharpness at mid
1805
Sharpness at mid
2340
Sharpness at mid
1934
Sharpness at mid
2254
Sharpness at tele
1540
Sharpness at tele
1904
Sharpness at tele
1305
Sharpness at tele
1630
F/6.3
F/4
Colour fringing increases when you use

the 1.4x converter but is barely noticeable
even at the longest zoom setting.
LAB TEST
LAB TEST
F/6.3
Theres low colour fringing at 120mm,

and results get progressively better
throughout the rest of the zoom range.
Colour fringing peaks at mid-zoom focal

lengths but is very well restrained at the
500mm end.
LAB TEST
LAB TEST
Fringing at wide
0.47
Fringing at wide
0.28
Fringing at wide
0.39
Fringing at wide
0.28
Fringing at mid
0.41
Fringing at mid
0.22
Fringing at mid
0.37
Fringing at mid
0.33
Fringing at tele
0.71
Fringing at tele
0.48
Fringing at tele
0.27
Fringing at tele
0.16
F/4
Theres barrel distortion at 50mm and

pin-cushioning at mid and long settings,
but theyre low given the big overall range.
LAB TEST
F/5.6
Pin-cushion distortion is above average

with the 1.4x teleconverter, and only
slightly evident at the longest focal length.
LAB TEST
F/6.3
One of the best performers in the group

in this respect, distortions are low at all
zoom settings.
LAB TEST
Distortions are a little more noticeable

than with the Sigma 120-400mm but are
still fairly low throughout the zoom range.
LAB TEST
Distortion at wide
-0.61
Distortion at wide
0.49
Distortion at wide
0.3
Distortion at wide
0.36
Distortion at mid
0.76
Distortion at mid
0.55
Distortion at mid
0.27
Distortion at mid
0.49
Distortion at tele
0.77
Distortion at tele
0.7
Distortion at tele
0.39
Distortion at tele
0.55

The superb image quality of the Sigma
120-300mm lens is only slightly
impaired when you use it in conjunction
with a 1.4x teleconverter.
Its not quite as sharp as some lenses in

the group but the overall image quality
is good, making this Sigma well worth
the money.
WorldMags.net
Sigmas 150-500mm lens gives the best

overall image quality in the group for
shooting at a super-long 500mm focal
length.
VIDEO GUIDES

The overall image quality produced by
this Sigma is remarkably good for a lens
with a 10x zoom range, adding
performance to versatility.
ESSENTIAL KIT
F/6.3
NIKON SOFTWARE
A trade-off for the extra-large zoom

range is that colour fringing is above
average, particularly at 50mm.
F/5.6
NIKOPEDIA
Fairly consistent through the zoom

range, this lens is quite sharp at 50mm
and doesnt drop off much at all.
CAMERA SKILLS
Sigma 50-500mm
f/4.5-6.3 DG OS HSM
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES

COMPARISON TABLE
Nikon 70-200mm Nikon 80-400mm
f/2.8G AF-S ED VR II f/4.5-5.6D AF ED VR
Samyang 500mm
f/6.3 MC IF Mirror
Samyang 800mm
f/8 MC IF Mirror
Sigma 50-500mm Sigma 120-300mm

f/4.5-6.3 DG OS HSM f/2.8 EX DG OS HSM
Sigma 120-400mm
f/4.5-5.6 DG OS HSM
Sigma 150-500mm
f/5-6.3 DG OS HSM
nikon.com
nikon.com
samyang-lens.co.uk
samyang-lens.co.uk
sigmaphoto.com
sigmaphoto.com
sigmaphoto.com
sigmaphoto.com
HOW THE SUPERTELEPHOTO LENSES

COMPARE
WEBSITE
STREET PRICE
1600, $2400
1900, $2700
155, $140
195, $200
1000, $1500
2800, $2700
640, $900
730, $870
DX/FX
FX
FX
FX
FX
FX
FX
FX
FX
EQUIV FOCAL LENGTH (APS-C)
105-300mm
120-600mm
750mm
1200mm
75-750mm
180-450mm
180-600mm
225-750mm
MINIMUM APERTURE
f/22
f/32
f/6.3
f/8
f/22
f22
f/32
f/22
IMAGE STABILISER
Four stops
Three stops
None
None
Four stops
Four stops
Four stops
Four stops
TELECONVERTER USE?
Yes
No
Not recommended
Not recommended
Yes (no AF)
Yes
Yes (no AF)
Yes (no AF)
AUTOFOCUS ACTUATOR
Ultrasonic (ring)
None
No autofocus
No autofocus
Ultrasonic (ring)
Ultrasonic (ring)
Ultrasonic (ring)
Ultrasonic (ring)
INTERNAL FOCUS
Yes
No
No
No
Yes
Yes
Yes
Yes
MIN FOCUS DISTANCE
1.4m
2.3m
2m
3.5m
0.5-1.8m
1.5-2.5m
1.5m
2.2m
MAX MAGNIFICATION
0.25x
0.42x
0.37x
0.37x
0.32x
0.12x
0.24x
0.19x
FILTER SIZE
77mm
77mm
34/95mm (rear/front)
30.5/105mm (rear/front)
95mm
105mm
77mm
86mm
Hood, pouch
Hood, pouch
Pouch
Pouch
Hood, pouch
Hood, pouch
Hood, pouch
Hood, pouch
87x206mm
97x171mm
98x120mm
111x145mm
104x219mm
114x289mm
92x203mm
95x252mm
WEIGHT
1.54kg
1.36kg
0.7kg
0.95kg
1.97kg
2.95kg
1.64kg
1.78kg
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
10
things
we
learnt
in
this
test
Theres a lot to think about when youre shooting with a super-telephoto lens
1
Mind your back
Hidden depths
Super-telephoto lenses can be weighty

beasts. A monopod can help take the load
without imposing the restrictions of a tripod.
While theyre long to start with, some

super-telephotos almost double in length
at their longest zoom settings. The Nikon
70-200mm and Sigma 120-300mm remain
[HGWKDQNVWRLQWHUQDO]RRPPHFKDQLVPV
Staying constant
Take the weight
Constant aperture lenses retain the

same largest available aperture throughout
the zoom range, enabling faster shutter
speeds at longer focal lengths.
With heavy super-telephoto lenses,

image stabilisation systems often make all
the difference between sharp and blurry
handheld shots.
Slow it down
For tripod-mounted shots, its best to

use the Exposure Delay or the Mirror Lockup functions to avoid mirror-bounce blurring
your results.
Small margin
On the move
Lights on
'HSWKRIHOGFDQEH
extremely small at longer zoom
settings, especially when you use the
largest available aperture.
With super-telephotos,
motion blur and camerashake are exaggerated.
Youll need a fast
shutter speed to
freeze the action.
Youll often
need to increase your
WorldMags.net
cameras sensitivity setting to achieve fast

shutter speeds in anything other than bright
lighting conditions.
Keep up
A fast autofocus speed

is essential for tracking quickmoving subjects. All the ring-type
ultrasonic lenses on test perform
well, while the Nikon 80-400mm
is relatively slow.
10
Mirror, mirror
Mirror lenses
offer massive
cost-savings but
the image quality
they provide is
comparatively
poor. They also
lack autofocus
and adjustable
apertures.
INTRODUCTION
THE WINNER IS...
CAMERA SKILLS
Sigma 150-500mm
f/5-6.3 DG OS HSM
For premium quality and advanced
features in a lightweight package,
this Sigma offers plenty of punch
2x teleconverter. The Sigma 120-300mm
retains most of its excellent image quality
when used with the teleconverter, but the
weight of the lens alone can literally be a
pain. Filters are also costly for the Sigma,
WKDQNVWRLWVKXJHPPOWHUWKUHDG
the Sigma 50-500mm, but its not worth the

extra outlay unless you really need its 10x
zoom range. Neither of the Samyang lenses
are worth considering seriously unless youre
on the tightest of budgets.
Suit yourself
Whats good Very good image quality, effective

image stabilisation and excellent value.
Whats bad The largest available aperture is
only f/6.3 at the long end of the zoom range.
Our verdict A great combination of quality and
features at a reasonable price.
OVERALL
Whats good Spectacular image quality, superb

build and fully professional specifications.
Whats bad Image quality is significantly
impaired when you use a 2x teleconverter.
Our verdict Brilliant as a fast telephoto, but
costly and less impressive with a teleconverter.
Whats good Superb image quality, even with a

1.4x teleconverter fitted.
Whats bad Big, very heavy and has a combined
price of around 3000 with the teleconverter.
Our verdict Too weighty for prolonged handheld
use, but excellent in every other way.
Whats good Fairly compact and lightweight,

but has plenty of advanced features.
Whats bad Lacks the outright telephoto reach
of the Sigma 150-500mm.
Our verdict All-round quality makes this lens
a bargain at the price.
OVERALL
OVERALL
OVERALL

WorldMags.net
VIDEO GUIDES
Sigma 120-300mm f/2.8 EX Sigma 120-400mm f/4.5-5.6

DG OS HSM
DG OS HSM
ESSENTIAL KIT

AF-S ED VR II
NIKON SOFTWARE
The Sigma 120-400mm has similar specs to

the 150-500mm, and is great value if you
GRQWQHHGWKDWQDOPPRIIRFDOOHQJWK
By contrast, the Nikon 80-400mm is a more
basic affair, with no in-built autofocus, less
effective stabilisation and worse image
quality. Another interesting proposition is
NIKOPEDIA
Theres a lot to love about the Sigma

150-500mm lens. With no need for
a teleconverter, it gives a massive 500mm
reach, equivalent to 750mm on cameras
with APS-C sensors. It also combines an
effective four-stop optical stabiliser with a
manageable weight of 1.78kg, so is ideal for
handheld use. Image quality is very good,
especially considering the relatively modest
purchase price of 730.
By comparison, the Nikon 70-200mm and
Sigma 120-300mm optics are about three
times as expensive, once you factor in the
teleconverters, and the image quality of the
Nikon 70-200mm becomes poor with the
INTRODUCTION
CAMERA SKILLS
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
3
5
TRIPODS
TRAVEL TRIPODS
Looking for something compact and light that still offers sturdy support?
We look out for the last man standing in our three-legged race
WorldMags.net
INTRODUCTION
CAMERA SKILLS
7
6
NIKOPEDIA
ESSENTIAL KIT
THE CONTENDERS
NIKON SOFTWARE
1 Hama Traveller Compact Pro (004214) 40, $60

2 Manfrotto Compact Photo-Movie Kit (MKC3-H01) 50, $60
3 Slik Sprint Pro II GM 60, $90
4 Jessops Major Carbon Fibre (5145152) 85, $135
6 Benro Flat Traveller 2 (BRA1192TB0) 200, $250

7 Velbon GEO E-530 220, $320
8 Giottos Vitruvian (VGRN8255-5400-652) 300, $420
WorldMags.net 2014 The Ultimate Nikon SLR Handbook 203
VIDEO GUIDES
5 Vanguard Nivelo 245BK 132, $126
INTRODUCTION

EQUIPMENT KNOW-HOW
CAMERA SKILLS
Ball-and-socket head
Want one for the road? Check out the tripod

features you shouldnt leave home without
With a single locking clamp, ball-and-socket

heads are very quick for making positional
adjustments. With two or three separate
clamps, conventional three-way heads are
more time-consuming to use.
Spirit/bubble levels
A bubble level or pair of spirit levels enables
you to easily level the tripod when using it on
uneven ground. If theyre placed on the tripod
heads camera platform, they can also assist
with levelling the camera itself.
Multi-angle legs
Being able to adjust the angle of the legs is
handy for low-level shooting and its also a
big bonus when shooting on very rough
terrain. The provision of two or three
alternative, lockable angles is common.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Extra leg sections

Many travel tripods feature five-section
legs. Compared with four-section legs and in
particular three-section legs, they combine
a decent maximum operating height with a
short stowage length.
Comfort padding
Clip or twist?
Foam padding on one or more of the tripod

legs upper sections makes for more
comfortable carrying, particularly in very
hot or cold weather. Padding can also help
to absorb the shock of any knocks received
when in transit.
Clip locks are generally quicker in use than

twist locks. This is an important factor to
take into account, considering that a tripod
with five sections in each of its three legs
has a total of 12 separate clamps.
ou cant beat a tripod

for ensuring shake-free
shooting, and ultimately,
getting a sharper image. Big,
chunky heavyweights offer
maximum stability, but theyre
far from ideal when youre on
your travels. Usually weighing
in at around 3.5kg, full-sized
tripods will eat into your baggage
DOORZDQFHZKHQ\LQJ7KH\OO
also put a strain on your back
when youre on country walks or
exploring the city.
/HWVWDNHDORDGRII7UDYHO
tripods aim to deliver the perfect
compromise between lightweight
compactness and rigid support.
But downsizing is a tall order. How
do you go about making a tripod
thats smaller to stow away yet
still offers a respectable maximum
operating height? And how can a
spindly tripod that weighs as little
as 1kg be substantial enough for
outdoor use, remaining steady
rather than blowing around in
the breeze?
7KHWULSRGVLQRXUURXQGXS
tackle the problems in various
ZD\V7KHOHJVRIVRPHDUHEXLOW
IURPFDUERQEHULQVWHDGRI
aluminium, which can offer a
weight saving of around 25 per
cent. Others, like the Benro and
Vanguard, rely on crafty designs
that buck tradition.
JARGON BUSTER
High ve
A favourite trick to make the
transition from short carrying
length to respectable operating
KHLJKWLVWRXVHYHWHOHVFRSLF
sections in each tripod leg.
Considering most full-sized tripods
only have three sections per leg,
thats a lot of extra sections in all.
Conventional wisdom says that
each joint in each leg is a weak
point that can reduce stability.
Also, having a greater number
of leg sections means that the
lower sections end up being very
WKLQDQGVSLQGO\7KLVODWWHUSRLQW
is a real risk, considering that
even the upper sections of most
travel tripods are quite small in
diameter to start with, making the
bottom sections very thin indeed,
DQGPRUHSURQHWRH[LQJ7R
Head
Ball-and-socket heads
are favoured in most travel
tripod heads because of their
speed and ease of setup.
The Manfrottos pistol-grip
head is a variation on the
theme, while the Jessops
and Vanguard tripods have
more conventional threeway and two-way heads.
Feet
The feet of most tripods
are rubber pads but
these sometimes contain
retractable spikes that can
extend for a surer foundation
on loose ground.
WorldMags.net
increase rigidity, each leg sections

mechanism needs to be solid
DQGVHFXUH7KHPDLQFKRLFHRI
fasteners is between clip locks or
twist locks. Either way, the clamps
QHHGWRJLYHDUPORFNDVZHOODV
enabling smooth extension when
released, while not introducing
DQ\XQZDQWHGH[LQJLQWRWKH
overall leg.
7KHH[WUDOHJVHFWLRQVHPSOR\HG
by most travel tripods inevitably
result in thinner bottom sections,
but these sections will also be
relatively short, so rigidity may not
be too badly impaired.
1RWDOOWUDYHOWULSRGVKDYHYH
VHFWLRQVSHUOHJ7KH+DPDDQG
Slik models on test are based on
four-leg sections, while the Jessops
and Velbon tripods have a more
conventional three sections per leg.
7KHWUDGHRIILVWKDWWKH-HVVRSV
and Velbon in particular dont
fold down as small as the other
tripods in the group, but theyre
still reasonably easy to carry
DURXQG7KH9HOERQVGLPHQVLRQV
actually look quite diminutive in
our comparison table, but this is
STEP BY STEP THE HIGHS AND LOWS OF SHOOTING

The best ways to get a different perspective while keeping your camera steady
INTRODUCTION
CAMERA SKILLS
02 Legs akimbo
03 Down under
The upper legs have a larger diameter and are

less prone to exing. Extend these rst and
work your way down, only using the bottom
sections if you really need the extra height.
Only extend the centre column as a last resort.
Multiple leg angles enable you to shoot from

nearer the ground. You may need to partially
raise the centre column, as shown here, but
sometimes it can be split and the lower section
removed to give more ground clearance.
For ultra-low-level shooting, you can remove

the centre column completely and invert it,
shooting from between two of the legs with the
camera upside down. With the Vanguard, you
can pivot the centre column 180 degrees.
Heads up?
In most cases, the tripod head
adds about 8cm to the overall
folded length of the tripod. Its a
VLJQLFDQWDPRXQWXVXDOO\DERXW
a sixth of the complete length.
7RFRPEDWWKLVWKH*LRWWRVDQG
Vanguard take a radical diversion
from conventional design for
or more shorter than most travel

tripods when stowed.
)OH[LELOLW\LVQWSHUKDSVWKHUVW
thing to leap onto your wish list for
whats supposed to be a rigid piece
of kit, but it can be good in one
respect. Some travel tripods are
FHUWDLQO\PRUHH[LEOHWKDQRWKHUV
when it comes to adapting to wideranging shooting needs. All but
the Manfrotto tripod in the group
KDYHPXOWLDQJOHOHJV7\SLFDOO\
they can be locked at two or three
different angles from the centre

column, and the Jessops goes top
with four angles on offer.
Splaying the legs enables you
to quickly and easily shoot from
nearer the ground. Its also a bonus
on very uneven ground or for
working around obstacles.
Another handy aid for low-level
shooting is that you can sometimes
split the tripods centre column
by removing its lower section.
7KLVE\SDVVHVWKHQHHGWRUHPRYH

used to rate the eight travel tripods in our test
In our tripod round-up, we
checked the ease of use and
smoothness of operation in leg
and centre column adjustments.
This included adjusting the legs to
multiple angles, as well as splitting
and reversing the centre column,
where applicable.
We went on to test the whole
range of adjustments offered by
each of the tripod heads in each
kit, checking for speed and ease
of use, along with firm locking
actions. To check the combined

sturdiness of each set of legs and
heads, we used them with a D7000
body and 70-300mm VR lens.
We looked for good resistance to
flexing throughout the range of
heights offered by each tripod. To
gauge steadiness in breezy outdoor
conditions, we switched off the
lenss Vibration Reduction system
and checked Live View images on
the LCD in maximum magnification
mode, with a 300mm zoom setting.
LWDQGUHWLWXSVLGHGRZQLQDQ
inverted position.
Bubble levels or spirit levels are
handy for levelling the tripod on
uneven ground, especially if your
camera doesnt feature a virtual
horizon display. However, unless
there are bubble or spirit levels on
the tripod heads camera platform,
theyre only useful for levelling the
tripod, not the camera itself.
JARGON BUSTER
Sections
Tripods with ve leg
sections fold down smaller,
but can be slower to set up.
Tripods with fewer sections
are more stable but not so
compact when not in use.
VIDEO GUIDES
JUHDWHUVSDFHVDYLQJ7KH*LRWWRV
has fully pivoting legs, while the
Vanguard features a pivoting
FHQWUHFROXPQ7KHUHVXOWLQ
both cases is that rather than
protruding from the top of the
tripod when folded, the head
ends up nestling between the
tripods feet.
Indeed, with folded lengths of
40cm and 37cm respectively, the
*LRWWRVDQG9DQJXDUGDUHFP
ESSENTIAL KIT
Splaying the legs enables you to quickly and

easily shoot from nearer the ground, and its also
a bonus for working on very uneven ground
HOW WE TESTED
NIKON SOFTWARE
the only tripod in the group thats

sold as just a set of legs, and not as
a tripod kit with an attached head.
NIKOPEDIA
01 Fat legs rst
It certainly looks the business, but

our review sample practically fell
apart in our hands as we used it
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
The head can be switched for photo

or video use, but in practice, its
quite spongy and insubstantial
Hama Traveller Compact Manfrotto Compact

Pro (004214) 40, $60
Photo-Movie Kit 50, $60
Hama offer the outright cheapest tripod in the
group, but do you get what you pay for?
Its a big name in tripods but does the mini

Manfrotto live up to its makers reputation?
On the face of it, the Hama

offers a great deal for the
money. Despite its aluminium
legs, it weighs fractionally less
WKDQWKHFDUERQEHU*LRWWRV
Vitruvian and has a 163cm
maximum operating height,
ZKLFKLVRQO\FPOHVV7KH
compromise is that with fourVHFWLRQUDWKHUWKDQYHVHFWLRQ
legs, the folded length is a
sizeable 52cm.
5HQHPHQWVLQFOXGHGXDO
position multi-angle legs,
retractable metal spikes within
the rubber feet pads, a split/
reversible centre column and a
ball head with a bubble level on
the camera platform.
0DQIURWWRLVDUP
favourite with professional
and discerning amateur
photographers the world over,
and theres no denying that the
company makes some extremely
good tripods. Sadly, this isnt
RQHRIWKHP7KH&RPSDFW
Photo-Movie Kit folds down
to a travel-friendly length of
FPEXWGHVSLWHKDYLQJYH
leg sections, it only achieves a
maximum height of 154cm with
the centre column extended.
7KDWVWKHORZHVWLQWKHJURXS
Loosening and fastening
all 12 clip locks for maximum
extension is quite a chore and
the Manfrotto is the only tripod
in the group that doesnt have a
multi-angle facility for its legs.
Performance
In testing, our review sample
of the Hama turned out to be
a massive disappointment.
7KHOHJVZHUHYHU\ZREEO\DW
maximum extension and failed
to give solid support. Worse

still, the clip locks not only have
a cheap, insubstantial feel to
WKHPEXWWKHWKXPEDSRIRQH
of them broke off completely the
UVWWLPHZHXVHGLW
Worst of all, though, despite
looking similar to some of
Manfrottos excellent ball heads,
the one on our review sample
refused to clamp in place, no
matter how tightly the locking
knob was adjusted.
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
is very wobbly in use. It has the

smallest maximum load rating
of any tripod on test, at just
1.5kg, but even when mounted
with a lightweight camera, it
lacks stability.
7KHVDPHLVWUXHRIWKHSLVWRO
grip head, which feels spongy
and fragile. On the plus side,
it has switchable operating
modes for video and stills use,
the latter enabling swivel for
portrait-orientation shooting.
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
OVERALL
Performance
OVERALL
WE SAY It promises much but

really fails to deliver. The legs
are poor and the head is worse.
7KHRYDOVKDSHGOHJVHFWLRQV
DUHYHU\SURQHWRH[LQJDQG
like the Hama, the Manfrotto
WE SAY Compact and lightweight

but lacks stability, despite a fairly
low maximum operating height.
WorldMags.net
CAMERA SKILLS
The ball head may be rather small,

but it clamps down securely and
holds a camera rigidly in place
NIKOPEDIA
Wed have preferred a ball-andsocket head, but the multi-angle

leg mechanisms are good
What price a carbon fiber tripod? Jessops

rewrites the price list with this bargain kit
7KHOLJKWHVWWULSRGDQG
head combination in the
group, the Slik weighs in at a
touch under 1kg. Its maximum
load rating of 2kg is also lower
WKDQDYHUDJHEXWLVVXIFLHQWIRU
a D-SLR with a budget telephoto
lens attached.
At 47cm, its fairly small
when folded. Its based on foursection legs and an extending
centre column that enable a
useful maximum height of
FP7KHQLQHFOLSORFNVDUH
quick and easy to use, as is
the centre column which has
a locking screw as well as an
DGMXVWDEOHIULFWLRQGDPSHU7KH
column can also be split and
inverted for low-level shooting,
which is further aided by three
alternative leg angles.
At less than a third of the

SULFHRIWKH*LRWWRVFDUERQ
EHUWULSRGWKH-HVVRSVWULSRG
is amazingly cheap to buy. With
only three leg sections, however,
its folded length is on the large
size at 62cm. Its also quite
KHDY\IRUDFDUERQEHUWULSRG
at 1.78kg, its actually the
second heaviest in the group. On
the plus side, height adjustments
are quick and easy with only
two clip locks per leg, which are
chunky and simple to operate.
Unusually, the kit includes
a conventional three-way head
rather than a ball head. Its good
for making precise adjustments
but to enable slimline carrying,
you need to remove one locking
arm and screw it into the other,
which is rather time consuming.
Despite its slim build, the Slik

offers reasonably sturdy support,
even at its maximum operating

height, although its no match
IRUWKH%HQUR*LRWWRVDQG
Velbon tripods in this respect.
7KHEDOOKHDGLVVLPLODUO\
small but offers good, rigid
clamping thats streets ahead
of the Hama and Manfrotto
heads. However, it lacks variable
friction adjustment or a panonly lock, as featured on the
%HQURDQG*LRWWRVKHDGV$WWKH
price, its a good bargain buy.
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
OVERALL
WE SAY Not much more
expensive than the Hama and
Manfrotto, but its more stable.
Performance
Stability is good when only
the middle leg sections are
WorldMags.net
extended. However, when youre

also extending the lower section
RIHDFKOHJWKHUHVVRPHH[LQJ
Its not as pronounced as with
the Hama and Manfrotto tripods
but it impairs performance.
On the plus side, multi-angle
facilities are better than most,
with four lockable positions.
In the uppermost position, the
leg points almost vertically
upwards, which is handy if you
need to shoot close to a wall.
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
OVERALL
WE SAY Not particularly compact
and its actually heavier than most
aluminium tripods in the group test.
VIDEO GUIDES
A compact and extremely lightweight tripod

thats also impressively light on the wallet
ESSENTIAL KIT
Jessops Major Carbon

Fibre (5145152) 85, $135
NIKON SOFTWARE
Slik Sprint Pro II GM

Tripod Kit 60, $90
Performance
INTRODUCTION
The pivoting centre column is

unique in the group, and is handy
for extremely low-level shots
One of the tripod legs can be

removed and used as a monopod,
which is a useful bonus
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Vanguard Nivelo 245BK

5-Section Tripod 132, $126
Benro Flat Traveller 2

Aluminium Tripod 200, $250
A radical rethink on travel tripod design, the

Vanguard makes for very compact carrying
Smart and solid, this a fine example of Benros

second generation of flat-folding tripods
Vanguard has often

impressed us in the past
with its innovative designs and
JRRGEXLOGTXDOLW\7KH1LYHOR
245BK follows the trend, with
a pivoting centre column thats
unique in the group.
Unlike the pivot system
in some full-sized Vanguard
tripods, you cant use the centre
column at any angle through its
180-degree arc, but instead are
limited to vertically upwards or
downwards. Upwards is ideal
for regular shooting, while
downwards is great for ultralow-level shots and compact
carrying, as the head rests
between the feet when folded.
7KH%HQURLVDQLQQRYDWLYH
and beautifully engineered
piece of kit. And it really is a kit,
with an array of parts and tools
in a smart padded carry case.
Each of the tripods three legs
are positioned in a straight line
along its rectangular shoulder,
IROGLQJDWIRUVWRZDJH7KH
position of the centre leg
therefore precludes the use of
a conventional centre column.
However, a telescopic centre
column is supplied, so you can
UHPRYHWKHKHDGWWKHFHQWUH
column and mount the head on
it when you need extra height,
up to a class-leading 172cm.
Without the centre column
WWHGWKHPXOWLDQJOHOHJV
enable low-level shooting.
Performance
Speedy setup is aided by
twist-lock leg sections, which
operate by progressive twisting
RIWKHWULSRGIHHW7KHV\VWHP
works well and is a time-saver
compared with using 12 clip

locks. Stability is pretty good
and better than with the Slik.
7KHKHDGDOVRKDVDVLPLODUO\
quick action although its not a
ball-and-socket head. Instead,
two clamping screws enable
independent movement for pan
DQGWLOW7RVZLYHOWKHFDPHUD
for portrait shooting, you need
to remove the square quickUHOHDVHSODWHDQGUHWLWDWD
90-degree increment.
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
removed and replaced with

metal spikes, also supplied, for
DGGHGVWDELOLW\7RHQKDQFH
versatility, one of the tripod
OHJVFDQEHUHPRYHGDQGWWHG
directly to the head, with or
without the centre column in
between, for use as a monopod.
7KHKLJKSHUIRUPDQFHEDOO
head itself is similarly versatile,
with separate locking and
friction knobs, plus a pan-only
lock with calibrated scale.
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
OVERALL
Performance
OVERALL
WE SAY A crafty bit of lateral

thinking literally turns this tripod
on its head for compact stowage.
7KDQNVWRDUXJJHGKLJKTXDOLW\
EXLOGULJLGLW\LVH[FHOOHQW7KH
tripods rubber feet can be
WE SAY Its pricey and quite

weighty too, but build quality
and stability are excellent.
WorldMags.net
CAMERA SKILLS
A carbon ber travel tripod that

really delivers the goods, complete
with a built-in monopod
NIKOPEDIA
Weighing 1.29kg, the Velbon is quite

a hefty tripod, especially when you
consider that a head isnt included
Unlike every other tripod

in the group, the Velbon is
supplied as a set of legs and you
need to buy a head separately.
As such, you have to add about
8cm to the quoted folded length
of 52cm, which makes it longer
WKDQDYHUDJH7KHVDPHJRHVIRU
the maximum operating height,
which works out at a respectable
FPZLWKDKHDGWWHG
Build quality is very good
and the three-section carbon
EHUOHJVZLWKFOLSORFNVDUH
UHDVVXULQJO\UPDQGVWDEOH
7KUHHORFNDEOHOHJDQJOHVDUH
available, the centre column
can be easily split and inverted
for low-level shooting, and the
tripod as a whole feels adequate
for much more than its 3kg
maximum load rating.
7KDQNVWRLWVYHVHFWLRQ
legs that outdo Leonardo
da Vincis Vitruvian Man by
pivoting through 180-degrees,
WKH*LRWWRVLVOLJKWZHLJKWDQG
compact when folded. For
stowage, the kit is only 40cm
ORQJ7KDWVFPVKRUWHUWKDQ
the Jessops Major tripod, even
WKRXJKWKH*LRWWRVH[WHQGVWR
a maximum height of 165cm,
which is 4cm taller. Its about
half a kilogram lighter than the
Benro aluminium kit too.
7KHWZLVWORFNVRQWKHOHJV
DUHVPRRWK\HWHQDEOHYHU\UP
support, with a hefty maximum
ORDGUDWLQJRINJ7KHUHVDOVR
a multi-angle leg facility that
offers two locking positions.
7KHUHVSOHQW\RIVWDELOLW\DQG
the legs operate smoothly
and effectively. However,

adding a head from the same
manufacturer wouldnt be our
UVWFKRLFH,QVWHDGZHGJRIRU
a Manfrotto 494RC2 Mini Ball
Head as the perfect match for
the Velbon, which will set you
back an additional 45.
7KLVPHDQVWKHWRWDORXWOD\LV
WKHQJHWWLQJRQWRZDUGV*LRWWRV
9LWUXYLDQFDUERQEHUWHUULWRU\
DQGIRUWKHPRQH\WKH*LRWWRV
has more going for it.
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
Performance
OVERALL
WE SAY Its quite expensive, and
at the price, its a case of nice legs,
shame about the missing head.
7KH*LRWWRVLVDZRQGHUIXOO\
versatile tripod and, as with the
Benro, you can remove one of
the legs and use it as a monopod
with the ball head. Rigidity and

stability are very impressive for
a combined legs-and-head kit
that weighs only 1.38kg.
7KHTXDOLW\RIWKHKHDGLV
excellent. Its very solid and has
a main knob that serves for both
locking and adjustable friction
damping. A separate panonly lock knob, complete with
calibrated scale, and two spirit
levels on the camera platform
aid speed and versatility.
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
OVERALL
WE SAY The Giottos offers a
perfect balance of lightweight
compactness and solid support.
VIDEO GUIDES
Brilliantly conceived and beautifully executed,

the carbon fiber Giottos is a travel tripod classic
ESSENTIAL KIT
The only headless tripod in this group test,

the Velbon GEO E-530 is all about the legs
NIKON SOFTWARE
Velbon GEO E-530 Carbon Giottos Vitruvian VGRN

8255-5400-652 300, $420
Fibre Tripod 220, $320
Performance
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE
ESSENTIAL KIT

COMPARISON TABLE
Benro Flat
Traveller 2
Giottos Vitruvian
8255-5400-652
Hama Traveller
Compact Pro
Jessops Major
Carbon Fibre
Manfrotto Compact
Photo-Movie Kit

Tripod Kit
Vanguard Nivelo
245BK
Velbon GEO E-530

Carbon Fibre Tripod
BRA1192TBO
VGRN8255-5400-652
004214
5145152
MKC3-H01
N/A
N/A
N/A
HOW THE TRAVEL

TRIPODS COMPARE
MODEL/CODE NO.
WEBSITE
benro.com
giottos-tripods.com
hama.co.uk
jessops.com
manfrotto.com
sliktripod.co.uk
vanguardworld.com
velbon.com
STREET PRICE
200, $250
300, $420
40, $60
85, $135
50, $60
60, $90
132, $126
220, $320
MAIN MATERIAL
Aluminium
Carbon ber
Aluminium
Carbon ber
Aluminium
Aluminium
Aluminium
Carbon ber
HEAD TYPE
Ball
Ball
Ball
3-way
Pistol
Ball
2-way
None
FOLDED HEIGHT
51cm
40cm
52cm
62cm
46cm
47cm
37cm
52cm
WEIGHT
1.86kg
1.38kg
1.37kg
1.78kg
1.15kg
0.95kg
1.14kg
1.29kg
MAXIMUM HEIGHT
172cm
165cm
163cm
161cm
154cm
161cm
161cm
157cm
MAXIMUM LOAD
8kg
6kg
4kg
4.5kg
1.5kg
2kg
3kg
3kg
BUBBLE/SPIRIT LEVELS
1 bubble
2 spirit
1 bubble
2 bubble
None
None
1 bubble
None
NO. OF LEG SECTIONS
5 sections
5 sections
4 sections
3 sections
5 sections
4 sections
5 sections
3 sections
MULTI-ANGLE LEGS
3 angles
2 angles
2 angles
4 angles
1 angle
3 angles
2 angles
3 angles
LEG LOCK MECHANISM
Twist
Twist
Clip
Clip
Clip
Clip
Twist
Clip
CENTRE COLUMN
Removable
Invert
Split/invert
Invert
Invert
Split/invert
Invert
Split/invert
FEET
Pad/spike
Pad
Pad/spike
Pad/spike
Pad
Pad
Pad
Pad/spike
BUILT-IN MONOPOD
Yes
Yes
No
No
No
No
No
No
CARRY BAG
Yes
Yes
Yes
Yes
No
Yes
Yes
No
FEATURES
BUILD QUALITY
STABILITY
VALUE FOR MONEY
OVERALL

Top tips to help you win the three-legged race
1 Lash it on
4 Carbon conundrum
For easy carrying, its often
convenient to lash a travel tripod onto
a gadget bag. Better still, many photo
backpacks have built-in tripod harnesses.
Put on weight
VIDEO GUIDES
Hanging a weight from the centre

column or tripod shoulder can aid stability,
but you have to be careful not to exceed the
modest maximum load rating that some
travel tripods have.
Removable legs
A removable leg in the Benro and

*LRWWRVWULSRGVIRUXVHDVDKLJKTXDOLW\
monopod, adds versatility, saves an
additional purchase and means you have
one less thing to carry.
With the relatively small size of travel

WULSRGVFDUERQEHURIWHQGHOLYHUVDPRGHVW
weight saving compared with aluminium.
Contortionist tripods
7KH*LRWWRVDQG9DQJXDUGWULSRGV
can stow their heads between their feet,
reducing carrying length and giving extra
protection to the heads.
Good at any angle
Multi-angle legs
are brilliant for low-level
shooting, especially
when theyre combined
with a centre column that
splits to enable greater
ground clearance.
WorldMags.net
Upside down
Count the clamps
For centre columns that dont split,

the next best thing for low-level shooting is
to invert them and shoot with the camera
upside down.
When extending travel tripods to

their maximum height and folding them
down again, the sheer number of leg section
clamps can make this process a real chore.
Exposure delay
7KHH[SRVXUHGHOD\
mode featured on most current
Nikon D-SLRs helps to avoid
mirror bounce when youre
using a lightweight tripod.
10
Having a ball
Ball-and-socket
heads reign supreme for
quick and easy setup,
enabling fast adjustments.
THE WINNER IS...
CAMERA SKILLS
Giottos Vitruvian
VGRN8255-5400-652
Its may be the most expensive tripod in our group test,
but its a top-quality, intelligently designed piece of kit
OHVVWKDQWKH*LRWWRVEXWVWLOORIIHUVDIHDVW
RIGHVLJQRXULVKHVDQGOLNHWKH*LRWWRVLW
converts quickly into a monopod for when
you dont need full three-legged support.
Its impressively rigid even at its maximum
operating height and is the second-best
tripod on test, even if its the heaviest in
the group at 1.86kg.
NIKOPEDIA
Budget options
For budget buys, the Hama and Manfrotto
are both disappointing, with a lack of
ULJLGLW\DQGRYHUDOOLPVLQHVV
Spend a bit extra, though, and youll
QGWKDWWKH6OLN6SULQWLVDQDWWUDFWLYHEX\
combining good stability with an extremely
light carrying weight of 0.95kg.
7KH6OLNLVDELWRQWKHEDVLFVLGH
however, and the more advanced Vanguard
Nivelo 245BK is unbeatable value at 132,
with a clever design, compact size and
sturdy support for your Nikon D-SLR.
Whats good Lightweight but very stable carbon

build, smart head and detachable monopod.
Whats bad Its expensive, even though its well
worth the considerable outlay.
Our verdict A superb piece of kit. Its solid,
dependable and very versatile.
OVERALL
NIKON SOFTWARE
3URYLQJWKDWFDUERQEHUFDQJLYH
great stability with a sizeable weight
reduction, even in relatively small travel
WULSRGVWKH*LRWWRV9LWUXYLDQUHLJQV
supreme. It delivers the perfect blend of
compactness, light weight, versatility and
VWXUGLQHVV7\SLFDORI*LRWWRVWKHEXLOG
quality is excellent throughout and clever
design enables a small carrying size with no
compromise on maximum operating height.
Useful novelties include a detachable leg that
you can use as a monopod.
7KHQH[WVWURQJHVWFDUERQFRQWHQGHULV
WKH9HOERQ*(2DOWKRXJKLWVFRQVLGHUDEO\
bigger when folded and you have to buy a
head separately. Build quality is still very
good and stability is rather better than with
the Jessops Major. While cheap to buy, the
-HVVRSVFDUERQEHUWULSRGLVTXLWHEXON\
and heavy, despite lacking sturdiness.
7XUQLQJWRDOXPLQLXPWULSRGVWKH
%HQUR)ODW7UDYHOOHU,,FRVWVVLJQLFDQWO\
INTRODUCTION
ESSENTIAL KIT
Vanguard Nivelo 245BK
Whats good Very well made, reassuringly rigid

and the head is of similarly high quality. It also
comes with an impressive array of extras.
Whats bad At 1.86kg, its the outright heaviest
tripod in the group.
Our verdict A very sturdy tripod that handily
doubles up as a neat monopod.
Whats good The highly intelligent design

features a 180-degree pivoting centre column,
which helps to reduce the carrying length.
Whats bad Its not quite as stable as either
the Giottos or Benro tripods.
Our verdict An excellent buy at the price,
especially when small carrying size is crucial.
Whats good Very good build quality at the

price, and it offers fairly sturdy support, even
though its ultra-lightweight at only 0.95kg.
Whats bad Four-section legs make the
carrying length a little on the long side.
Our verdict Impressive performance and
versatility for a relatively small outlay.
OVERALL
OVERALL
OVERALL
WorldMags.net
VIDEO GUIDES
Benro Flat Traveller 2
EXTERNAL
CAMERA SKILLS
INTRODUCTION
WorldMags.net
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Spanning an enormous range of power and sophistication, the

latest Nikon-fit flashguns also vary hugely in price. We help you
pick out the best models to suit your photographic needs
WorldMags.net
THE CONTENDERS
INTRODUCTION
WorldMags.net
1 Sunpak PF30X 80, $50

2 Nikon SB-400 Speedlight 120, $285
4 Metz 50 AF-1 Digital 180, $280

5 Sigma EF-610 DG Super 120, $225
6 Nissin Di866 MkII Speedlite
Professional 200, $350
CAMERA SKILLS
3 Polaroid 160 Dua Flash 160, $170
NIKOPEDIA
3
8
NIKON SOFTWARE
ESSENTIAL KIT
VIDEO GUIDES
WorldMags.net
INTRODUCTION

EQUIPMENT KNOW-HOW
THINGS TO LOOK FOR
Bounce and swivel head

This enables you to bounce light
from the ashgun off walls and
ceilings for a softer lighting effect.
Its most useful for portraiture.
CAMERA SKILLS
A wider range of features will

expand your shooting options
Wide-angle diffuser
Flipping down over the front of the
ash head, this diffuses the light
to give a wider area of coverage.
This is essential when youre using
ultra-wide-angle lenses.
LCD panel
For making the most of advanced
settings, or for arranging custom
functions, an LCD status display
is an absolute necessity.
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
Master/slave modes
Advanced ashguns can often
be used as either master or slave
units in multi-ashgun lighting
setups, enabling you to get more
exotic lighting effects.
Onboard controls
These should enable simple yet
effective hands-on control of
ashgun settings. Theyre usually
much quicker than camera-based
menu options.
AF illuminator
A patterned grid of light, usually
red in colour, enables the
cameras autofocus system to
lock on to targets accurately,
even in very dark conditions.
JRRGDVKJXQLVRQHRI
WKHPRVWHVVHQWLDODQG
YHUVDWLOH6/5DFFHVVRULHV
Its not just for dark times, when
youre shooting indoors or at night
DDVKJXQLVHTXDOO\XVHIXOIRU
OOLQJLQXQVLJKWO\VKDGRZVLQ
bright, sunny-day portraits.
8QOLNHWKHSRSXSDVKHVLQ
PRVW1LNRQ6/5VDVKJXQVJLYH
\RXPRUHSRZHUJUHDWHUH[LELOLW\
RYHUOLJKWLQJWHFKQLTXHVDQGLQ
VRPHFDVHVDGYDQFHGIDFLOLWLHVIRU
ZLUHOHVVPXOWLDVKJXQVKRRWLQJ
7KHPD[LPXPSRZHURID
DVKJXQLVLQGLFDWHGE\LWVJXLGH
QXPEHU*17KLVLVXVXDOO\
VWDWHGIRUVKRRWLQJDWDVHQVLWLYLW\
RI,62DQGDIRFDOOHQJWKRI
PP7KDWVEHFDXVHPRVW
DVKJXQVKDYHPRWRULVHG]RRP
KHDGVWKDWDXWRPDWLFDOO\DGMXVWDV
\RXDOWHUWKH]RRPVHWWLQJRI\RXU
OHQVRUWSULPHOHQVHVRIYDU\LQJ
IRFDOOHQJWKV
$V\RXVWUHWFKIURPZLGHDQJOH
WRPRUHWHOHSKRWRIRFDOOHQJWKV
WKHOLJKWXVHGWRLOOXPLQDWHWKH
SHULSKHU\RIDVFHQHLVZDVWHG6R
E\]RRPLQJWKHDVKKHDGLWVOLJKW
LVFRQFHQWUDWHGRQWKHDUHDWKDW
Flash stand
This lets you position your ash
wherever you like while keeping
your hands free, and means you
dont need a bulky lighting stand.
ZLOODSSHDULQWKHSKRWR7KH*1
HQDEOHV\RXWRNQRZWKHPD[LPXP
UDQJHRIWKHDVKJXQDWDQ\JLYHQ
DSHUWXUH<RXVLPSO\GLYLGHWKH*1
by the aperture youre using.
$VDQH[DPSOHDDVKJXQ
ZLWKD*1RIZRXOGHQDEOH
\RXWRVKRRWDQREMHFWIURPXSWR
10 metres away with an aperture
RIIRUIURPXSWRYHPHWUHV
away with an aperture of f/8. That
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Directing ash
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JARGON BUSTER
Manual power
For ultimate control
over ash power, you can
usually switch to manual
ash mode and adjust the
ash intensity in small
increments between 1/1
(full power) and the lowest
settings (typically from
1/16 to 1/128 power).
i-TTL
The intelligent Through
The Lens mode aims to
create a balance between
ash and ambient light, so
theres less difference
between the foreground
and background. Its often
referred to as TTL BL
(Balanced Light).
WorldMags.net
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The downsides of this are that
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when youre shooting in portrait
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shutter opens and the shot is
taken. Thats the theory, anyway,
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STEP BY STEP Bounce and swivel

Get a softer, more natural lighting effect from your ashgun
INTRODUCTION
CAMERA SKILLS
02 Swivel
03 Diffusion dome
When youre using the camera in landscape

(wide) orientation and bouncing the ash off the
ceiling, you should choose an angle of at least
45 degrees to avoid partial direct ash in the
upper part of the image.
This is useful for bouncing the ash off walls or,

in portrait (tall) orientation, the ceiling. A
near-vertical amount of swivel will usually be
necessary in order to avoid partial direct ash
affecting the image.
Shooting with a diffusion dome in bounce or

swivel mode enables softened direct ash
combined with bounced ash off walls and
ceilings. Diffusion domes are included with the
Nikon SB-700 and SB-910 ashguns.
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they used to rate the flashguns in our roundup
All functions, features and
firing modes of the flashguns
were tested. To measure the
maximum power, each model
was set to manual flash mode at
its longest zoom setting. A
Sekonic flash meter was placed a
set distance away, and the light
readings were converted to give a
GN number at ISO100, measured
in metres.
We also checked for colour
accuracy by shooting an industry
standard colour chart and

analysing the output. We then
measured how much correction
was needed at the editing stage
to give accurate results.
For i-TTL flash exposure
accuracy, we photographed a
neutral grey card, which should
produce a spike at the centre of
the histogram display. We then
calculated the amount of
overexposure or underexposure
in +/-EV (Exposure Value) stops.
Our test procedures are designed to highlight inconsistencies in power

output, colour reproduction and exposure accuracy, providing a level
playing eld for comparisons between products
WorldMags.net
VIDEO GUIDES
setting them up for use on DX

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sense what type of SLR theyre
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SHEDDING LIGHT ON FLASHGUNS
ESSENTIAL KIT
All the flashguns on test are fully compatible

with Nikons i-TTL flash metering, which aims to
ensure accurate and consistent flash power
HOW WE TESTED
NIKON SOFTWARE
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to 16-70mm.
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NIKOPEDIA
01 Bounce
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Controls are very limited but at

least you get a little ash
exposure compensation
Sunpak PF30X
With just a hotshoe lock, on/off

switch and ready lamp, onboard
controls are entirely lacking
80, $50
Nikon SB-400
Speedlight 120, $285
Small but perfectly formed? Well, its certainly

little, but its lacking too many essential features
The tiny yet sturdy SB-400 offers plenty of features

for those who like to travel light
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runs on two AA batteries, rather
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Short-range subjects like this are ne,

but the Sunpaks lack of power could be
an issue in other situations
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FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
FEATURES
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IMAGE QUALITY
VALUE FOR MONEY
OVERALL
OVERALL
WE SAY Its cheap but

disappointing, with poor recycling
speeds and a lack of facilities.
Simple, compact and effective, the

SB-400 can tilt through 90 degrees but
has no swivel option
WorldMags.net
WE SAY A bit lacking in versatility

and power, the little SB-400 is still a
huge step up from pop-up flash.
INTRODUCTION
CAMERA SKILLS
160, $170
180, $280
Polaroids Dua Flash aims to serve the lighting

needs of both photographers and videographers
This lightgun packs in an impressive amount of

features, and all at a competitive price
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pedestrian. The motorised
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FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL
OVERALL
WE SAY Quite a basic flashgun,

and the secondary LED lighting
array is lacking in power.
The Metz delivers consistent power in

manual mode, and offers a good range of
bounce and swivel movements
WorldMags.net
WE SAY Theres plenty of power

but the Metz doesnt always use it,
with underexposure in i-TTL mode.
VIDEO GUIDES
The Polaroid offers illumination for both

stills and video, but the ash control
options are weak
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ESSENTIAL KIT
Metz 50 AF-1 Digital
NIKON SOFTWARE
Polaroid 160 Dua Flash
NIKOPEDIA
Repeated, simultaneous presses

of the + and - buttons take you
through the menu options
The Polaroids old-school control

panel is basic and the buttons are
quite ddly to use
INTRODUCTION
VIDEO GUIDES
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
Theres a useful array of

features but the onboard
controls are a bit long-winded
Sigma EF-610 DG Super
The colour LCD info screen adds a

touch of class and makes menu
navigation a simple process
120, $225
Nissin Di866 MkII

Speedlite Pro 200, $350
Sigma packs in a number of advanced features at a

good price, along with plenty of power too
A colour LCD information panel is just one of the

many unique features that this flashgun offers
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The Sigma delivered good results with

this shot, but you often need to apply
ash compensation for best results
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FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
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OVERALL
OVERALL
WE SAY Auto flash exposure can

leave images on the dark side, and
the menu system is rather awkward.
Interestingly, the Nissin boasts a

second, smaller ash unit to provide
ll-in light in bounce mode
WorldMags.net
WE SAY There are plenty of

advanced features, lots of power,
and a useful secondary fill-in flash.
INTRODUCTION
CAMERA SKILLS
Not quite as straightforward to

use as the Nikon SB-700, but the
controls are incredibly versatile
With handy accessories and a wealth of useful

features included, this is a perfect fit for your SLR
A real powerhouse of a flashgun, this Speedlight

offers professional levels of power and options
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BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
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OVERALL
OVERALL
WE SAY Quality and versatility fall

naturally under the thumb with a
smart and streamlined interface.
Many of the SB-910s features can be

found on the cheaper SB-700, but it still
wins on lighting control and power
WorldMags.net
WE SAY Packed with top-end

features and wrapped in a sturdy
and solid package but its pricey.
VIDEO GUIDES
The SB-700s sophisticated controls

include the ability to adapt to the colour
of any ambient lighting
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ESSENTIAL KIT
Nikon SB-910
NIKON SOFTWARE
Nikon SB-700
NIKOPEDIA
Theres direct access to the key

settings, and the thumbwheel
makes any adjustments easy
INTRODUCTION
RATINGS IN A FLASH
Nikon SB-700
Speedlight
Nikon SB-910
Speedlight
50
30
40
50
40
24
32
40
30
Theoretical GN
Measured GN
20
OUTPUT
Full
power
1/4
power
1/8
power
1/16
power
1/32
power
1/64
power
APERTURE READING AT 1m
COLOUR ACCURACY
ESSENTIAL KIT
12
Full
power
24
Theoretical GN
Measured GN
16
1/2
power
1/4
power
1/8
power
1/16
power
1/32
power
1/64
power
The tiny SB-400 doesnt have a massive

power output, and like the rest of the
flashguns on test, its actual output falls
some way short of the claimed figure.
Full
power
Theoretical GN
Measured GN
20
10
1/2
power
30
1/2
power
1/4
power
1/8
power
1/16
power
1/32
power
1/64
power
Still a little way short of the expected

overall power output, the SB-700 is,
nevertheless, very consistent throughout
the rest of the range.
Full
power
1/2
power
1/4
power
1/8
power
1/16
power
Theoretical
21
Theoretical
28
Theoretical
34
Measured
32
Measured
32
Measured
22
Measured
32
iTTL exposure accuracy
-1.0EV
Colour rendition is good, but we found

we usually had to add positive flash
exposure compensation in order to avoid
colours looking quite muddy.
Colour accuracy
Measured
At -0.2EV, the SB-400 comes extremely

close to a perfect flash exposure, matching
the larger Nikon SB-700 and SB-910 in
terms of iTTL accuracy.
Measured
Compared with the bigger Nikon

flashguns, colour balance is slightly on the
warm side. However, this could be quite
flattering for portrait subjects.
Colour accuracy
16

The Metz gun often suffered from flash
underexposure in iTTL mode during our
tests, making for dull-looking images.
Colour accuracy is good, though.
Measured
Measured
11
Colour rendition is indistinguishable in

shots taken using the SB-700 and SB-910.
Both flashguns give natural-looking
results, with neutral greys.
Measured
Measured
-0.2EV
The fantastic power ouput of Nikons

biggest flashgun is matched by good
performance in our colour accuracy tests
across the spectrum.
Colour accuracy

Theres practically nothing to separate
image quality between the SB-700 and
the fully professional SB-910, making
the former a bargain.
WorldMags.net
Youd expect supreme accuracy from

Nikons top professional flashgun, and
thats what you get, although its matched
by the SB-400 and SB-700.
-0.2EV
Colour accuracy
With its small flash head positioned

close to the camera, image quality is
only good in bounce mode, for which
the SB-400 is a bit lacking in power.
As with the other Nikon flashguns in the

test group, the SB-700 proves almost
impossible to fool, giving accurate results
time after time.
-0.2EV
1/64
power
50
In iTTL mode, images are often

underexposed by a full stop (-1EV), meaning
dark pictures and requiring flash exposure
compensation to be dialled in.
1/32
power
The SB-910 matches the Metz for

outright power, and it proves really
consistent throughout the whole range,
right down to 1/64 power.
Theoretical
Measured
VIDEO GUIDES
Theoretical GN
Measured GN
In the range between 1/4 and full output

settings, the Metz is a little down on
power. However, accuracy improves at
lower output settings.
iTTL EXPOSURE ACCURACY
NIKON SOFTWARE
NIKOPEDIA
10
18
Guide number
Nikon SB-400
Speedlight
Guide number
Metz 50 AF-1
Digital
Guide number
Guide number
CAMERA SKILLS
Find out how the flashguns on test compare our

Measured
18

For accuracy in both manual and iTTL
modes, the SB-910 is a standout
performer, and colour accuracy is
impressive. Its the top pro choice.
Exposure
(finding out how
well the guns
auto-flash works)
We used a meter to measure flash power

at one metre across the full range of
power settings, then compared this to the
makers quoted guide numbers.
Flash output is one thing, but how well do

these flashguns work alongside the
cameras own metering system in
real-world auto-exposure situations?
Colour
(saturation, hue
and brightness
variations)
We used an X-Rite ColorChecker chart
and image analysis software to
calculate any deviation from correct
colour. The closer to zero the better.
Sunpak
PF30X
60
50
70
40
48
40
56
32
36
Theoretical GN
Measured GN
24
12
Theoretical GN
Measured GN
20
10
1/4
power
1/8
power
1/16
power
1/32
power
1/64
power
The full power output lags quite a way

behind the manufacturers stated
maximum, and accuracy is disappointing
at 1/2 and 1/4 settings as well.
Full
power
Theoretical GN
Measured GN
28
14
1/2
power
42
1/4
power
1/8
power
1/16
power
1/32
power
1/64
power
The maximum power proves quite

disappointing compared with Polaroids
claims, and this continues throughout the
manual flash range down to 1/16.
Full
power
Theoretical GN
Measured GN
16
1/2
power
24
1/2
power
1/4
power
1/8
power
1/16
power
1/32
power
1/64
power
The Sigma flash has the highest GN in

the group, but power is quite lacking at the
maximum setting. It also tracks fairly low
throughout the manual range.
Full
power
1/2
power
1/4
power
1/8
power
1/16
power
60
Theoretical
45
Theoretical
61
Theoretical
30
Measured
32
Measured
22
Measured
32
Measured
22
Measured
-1.0EV
Colour accuracy
Measured
+0.3EV
Theres a slight blue colour cast to

images. Its quite marginal, though, and
rather less noticeable than that produced
by the Nissin flashgun.
Colour accuracy
20
-0.7EV
The Sigma flash adds a touch of warmth

to our colour rendition tests. Technically,
results are poor for accuracy, but images
look quite natural nevertheless.
Colour accuracy
-2

A little too bright in most shooting
conditions, when we used iTTL flash
metering the Polaroid was good in
terms of colour accuracy.
Measured
Measured
-0.3EV
As is the case with iTTL metering, there

is practically nothing to separate colour
accuracy between the Sunpak and the
Nikon SB-700 and SB-700 flashguns.
Colour accuracy
23
Measured
Like the Metz and Nissin guns, the

Sigma unit often gives underexposed
results in iTTL mode, and colour
accuracy could be better.
WorldMags.net
18
The lack of manual power settings

might be frustrating for advanced
users, but iTTL metering and colour
accuracy are both pretty good.
VIDEO GUIDES

Many of our test images are too dark in
iTTL mode, and the Nissin lacks
accuracy in manual mode as well.
Consistent results are a challenge.
Measured
Measured
Almost as accurate as the Nikon

flashguns, the Sunpak does well in terms
of iTTL accuracy, with a flash exposure of
-0.3EV in this case.
ESSENTIAL KIT
Along with dark exposures, colour

balance is a little on the cool side. This
makes the Nissin less than ideal for skin
tones and portrait photographers.
Measured
A little on the dark side, the Sigma

gives us -0.7EV flash exposures. This isnt
as low as the results from the Metz and
Nissin, but is still rather gloomy.
NIKON SOFTWARE
Uniquely in the group, the Polaroid is a

little on the bright side, delivering +0.3EV
flash exposures that are more likely to
wash out highlights.
1/64
power
Theres no facility to set manual flash

power on the Sunpak, so it could only
really be tested at maximum output,
where it acquits itself fairly well.
Theoretical
Like the Metz, the Nissin often

underexposed images when we used it in
TTL mode. In this case, its given the
same -1.0EV flash exposure.
1/32
power
NIKOPEDIA
Full
power
30
Guide number
Sigma EF-610
DG Super
Guide number
Polaroid 160
Dua Flash
Guide number
Nissin Di866 MkII

Speedlite Pro
CAMERA SKILLS
Guide number
Heres how we tested these

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iTTL exposure accuracy and
colour rendition
Output
(quoted versus
actual flash
strength)
INTRODUCTION
INTRODUCTION
CAMERA SKILLS
NIKOPEDIA
NIKON SOFTWARE

COMPARISON TABLE
ESSENTIAL KIT
Nikon SB-400
Speedlight
Nikon SB-700
Speedlight
Nikon SB-910
Speedlight
Nissin Di866 MkII

Speedlite Pro
Polaroid 160
Dua Flash
Sigma EF-610
DG Super
Sunpak PF30X
metz.de/en
180, $280
50m
-7 to 90
180/120
24-105mm
DX/FX
Yes
Yes
+/-3EV
1/1 to 1/128
Yes
Slave only
5 secs / 5 secs
Yes
4x AA
nikon.com
120, $285
30m
0-90
None
27mm (fixed)
None
No
No
Via camera
None
No
None
7 secs / 4 secs
No
2x AA
nikon.com
230, $327
37m
-7 to 90
180/180
24-120mm
DX/FX
Yes
Yes
+/-3EV
1/1 to 1/128
Yes
Yes
4 secs / 3 secs
Yes
4x AA
nikon.com
340, $547
50m
-7 to 90
180/180
17-200mm
DX/FX
Yes
Yes
+/-3EV
1/1 to 1/128
Yes
Yes
5 secs / 4 secs
Yes
4x AA
nissin-japan.com
200, $350
60m
0-90
90/180
24-105mm
FX only
Yes
Yes
+/-3EV
1/1 to 1/128
Yes
Yes
8 secs / 6 secs
Yes
4x AA
polaroid.com
160, $170
45m
0-90
180/90
24-85mm
FX only
Yes
Yes
Via camera
1/1 to 1/16
No
None
10 secs / 8 secs
Yes
4x AA
sigmaphoto.com
120, $225
61m
0-90
180/90
24-105mm
None FX only
Yes
Yes
+/-1.5EV +/-3EV
None +/-1.5EV
Yes
Yes
10 secs / 8 secs
Yes
4x AA
sunpak.jp/english
80, $50
30m
0-90
None
28mm (fixed)
None
No
No
+/-1.5EV
None
Yes
None
22 secs / 16 secs
No
2x AA
HOW THE
FLASHGUNS
COMPARE
WEBSITE
STREET PRICE
GUIDE NUMBER (ISO100, 105mm)
BOUNCE (DEGREES)
SWIVEL LEFT/RIGHT (DEGREES)
MOTORIZED ZOOM (35mm EQUIVALENT)
DX/FX ZOOM OPTIONS
WIDE-ANGLE DIFFUSER
FILL-IN REFLECTOR
FLASH EXPOSURE COMPENSATION
MANUAL POWER SETTINGS
AUTOFOCUS ILLUMINATOR
WIRELESS MASTER/SLAVE
FULL POWER RECYCLE TIME (AA/NiMH)
FLASH INFO LCD
BATTERIES
FEATURES
BUILD QUALITY
IMAGE QUALITY
VALUE FOR MONEY
OVERALL

With modes and features aplenty, it pays to make full use of what flashguns offer
Go slow
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VIDEO GUIDES
Metz 50 AF-1
Digital
Bounce it
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make big demands on
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222 The Ultimate Nikon SLR Handbook
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THE WINNER IS...
CAMERA SKILLS
Nikon Speedlight
SB-700
Get all the sophistication and versatility
you need without paying over the odds
Flash players
Whats good Advanced features, useful

accessories and simple, intuitive controls.
Whats bad Maximum flash power is a little
lower than that of some competing flashguns.
Our verdict Gives consistent results you can
count on, and is an absolute joy to use.
OVERALL
Metz 50 AF-1
Digital
Whats good Mighty power and all the

professional features you could wish for.
Whats bad Expensive, especially if you dont
need all of the pro options it offers.
Our verdict If money is no object, theres no
doubt this is the best flashgun for your Nikon.
Whats good Secondary fill-flash tube, colour

LCD and a range of versatile features.
Whats bad Noisy motorised zoom, sluggish
recycling times and inaccurate i-TTL metering.
Our verdict Plenty of advanced features, but
some of the basics could be handled better.
Whats good Robust build quality, a wireless

slave mode and it can be DX-format compatible.
Whats bad Onboard menu system could be
more intuitive, iTTL metering lacks accuracy.
Our verdict A good flashgun at the price but you
have to watch out for underexposure.
OVERALL
OVERALL
OVERALL

WorldMags.net
VIDEO GUIDES
Nissin Di866 MkII

Professional
ESSENTIAL KIT
Nikon SB-910
Speedlight
NIKON SOFTWARE
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VIDEO GUIDES
Instead of a disc, your free video guides can be watched by simply

clicking the link at the bottom of the software tutorial pages
ESSENTIAL KIT
NIKON SOFTWARE
NIKOPEDIA
CAMERA SKILLS
WorldMags.netW h e n you se e t h is
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About copyright
Please note that all the start images you download
from the email links are copyright. They are not
royalty-free or library images. They are supplied
solely for your own private use, so you can work
along with our tutorials. They must not be sold on,
redistributed in any form (whether as-supplied or
edited), made available on any server or website,
or used for any commercial purpose.
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2 GREAT WAYS TO LEARN!

Take better shots with

Click the links to

ith SLRs suitable for beginners as well as the

Chris George, Series editor

2012 The Ultimate Nikon SLR Handbook 3

Chris George chris@nphotomag.com

FUTURE PUBLISHING LIMITED

Senior Sales Executive

Tel: +44 (0)1225 788186

CIRCULATION & MARKETING

PRINT & PRODUCTION

Future produces carefully targeted magazines,

Future Publishing Limited 2014. All rights reserved.

4 The Ultimate Nikon SLR Handbook 2014

6 Master Nikon software 102

Nikon D-SLR crash course......................... 8

2014 The Ultimate Nikon SLR Handbook 5

Budget telephoto zooms.......................... 128

Focal length explained ............................ 58

Introducing Capture NX 2 .......................104

Nikon D-SLR crash course .................................8

2014 The Ultimate Nikon SLR Handbook 7

8 The Ultimate Nikon SLR Handbook 2014

ISO and White Balance

Focus and Aperture

2014 The Ultimate Nikon SLR Handbook 9

WHAT YOULL LEARN...

EXPOSURE MODES THE BASICS

he mode dial on the top of your

of subject youre shooting, and it then

EXPOSURE TECHNIQUE CONFUSED BY P, A, S & M MODES?

Aperture Priority (A)

Shutter Priority (S)

Here, the camera chooses both the

You choose the lens aperture and

You set the shutter speed and the

In Manual mode, you set both the

10 The Ultimate Nikon SLR Handbook 2014

WHAT DO THE MODES MEAN?

Live View lets you compose your

MAKE THE MOST OF LIVE VIEW

If youre new to D-SLRs, dont worry! All

EXPERT TIP SCENE MODES AND PICTURE CONTROLS

Scene modes change the camera settings

Picture Controls change the processing applied

2014 The Ultimate Nikon SLR Handbook 11

Scene modes adjust both

Normally, the mirror inside your

The mode dial is the nerve centre

ISO AND WHITE BALANCE

SHOOTING TECHNIQUE WHITE BALANCE

Auto White Balance

Auto White Balance copes

Here, the Auto White Balance

but choosing an appropriate

12 The Ultimate Nikon SLR Handbook 2014

UNDERSTANDING THE ISO SCALE

CHECK THE HISTOGRAM

But you do when youre shooting handheld

2014 The Ultimate Nikon SLR Handbook 13

EXPERT TIP CHOOSING THE ISO

Higher ISOs are often useful for handheld

The histogram displays the tones