In this post we are going to look at how to control exposure by manipulating the different settings on the camera such as ISO, Shutter, and Aperture.

What is exposure?
Exposure is, simply put, the amount of light that enters the camera and hits the sensor. The more light that hits the sensor the brighter the scene will be. If too much light hits the sensor, parts of the image will be “blown out”, this is considered to be over-exposed. A scene that is too dark and the details in the shadows are lost is under-exposed.

Under Exposed Image

Over Exposed Image

How to control exposure
There are three camera settings that control the exposure, these are:

• ISO speed
  • Controls the sensitivity of the sensor to light
• Aperture
  • The aperture controls the size of the diaphragm over the shutter, the smaller the aperture number the more open the diaphragm is, allowing more light to enter.
• Shutter speed
  • The slower the shutter, the more light will enter the camera

We will look at these settings in more detail to see exactly how the play together later. First, you need to start thinking of light in terms of “stops”. A stop is not an exact amount of light, it is a relative amount of light, each stop of light doubles the amount of light. For example, if we have a single lightbulb as our base light source, adding a second lightbulb (doubling the amount of light) increases the light by one stop. If want to increase the light by another stop we have to again double the amount of light to four lightbulbs. Understanding this is going to be the key to understanding how the different camera settings affect our exposure.

ISO Speed
As already mentioned, the ISO speed will control the sensitivity of the sensor. The lower the number, the less sensitive. For low light you will need a higher ISO number to make the sensor more sensitive. The downside is that the higher ISO the more digital noise (grainy look) will show up which will degrade the image quality.

Each time you double the ISO speed you increase the exposure by one stop, so ISO 400 will give you one stop of exposure more than ISO 200, and ISO 800 will give you one more stop over ISO 400 etc. Some cameras have some in-between ISO settings to provide a finer level of control.

You currently see high ISO performance as being a major selling point for new DSLR cameras as this allows them to shoot in lower light conditions with less noise.

Pro: Higher ISO allows shooting in lower light conditions
Con: Higher ISO settings result in more digital noise

High ISO Digital Noise

Aperture
Aperture is a little confusing because the larger the number the smaller the size. The largest aperture lenses are f/1.0 although most of the good prime lenses start at f/1.4 – f/1.6. Zoom lenses typically are not available that can do more than f/2.8.

So besides letting in more or less light, what does the aperture actually do? The more light that comes in at a particular shutter speed, the shallower the depth of field. If you want more depth of field you use a smaller (higher number) aperture setting.

Pro: Larger apertures allow more light in and thus allow shooting in lower light conditions
Con: Larger apertures reduce the depth of field which may not be desirable

Shallow Depth of Field

Deep Depth of Field

Shutter
The faster the shutter, the less light enters the camera, the slower the shutter the more light will enter the camera. If you are shooting in low light conditions, you may need a slower shutter speed, however, too slow of a shutter and you can introduce blur from the subject moving, accidental camera movement, or both.

Sometimes a little blur can help portray movement and action, a sharp bike rider with a blurred background will make the rider look like he/she is moving fast where a tack sharp image shows no motion at all and would make the same image look boring. While blurring on other images can ruin the image.

Pro: The right shutter speed can really make an image more dramatic. Fast shutter speeds can freeze action, slow shutter speeds can add a dramatic motion blur.
Con: Fast shutter speeds require lots of light, slow shutter speeds are harder to control

Fast Shutter Speed

Slow Shutter Speed

Summary
By understanding the three variables that control exposure along with the pros and cons of each one, you will be able to better control the different options that are available to you.

The Math
Feel free to skip right over this part, this is the boring part, it’s so boring I thought of putting a picture of an artistic nude shot next to it just to keep people awake. Ok, so here we go. Before you can calculate the depth of field you first must know the circle of confusion for your camera.

Don’t get too lost on me yet, for most of us digital SLR users this is  one of two numbers. For most of us with APS/APS-C sized sensors this number is 0.019948, for full frame sensors (the big Pro cameras) and 35mm film the number is 0.02501. This represents the sensor size. Again, don’t get all lost on me yet, just remember the number for your particular camera.

The first thing we need to calculate is the Hyperfocal distance, for this calculation you will need to know the focal length of your lens. the aperture you are using and the CoC (circle of confusion) for your camera.

The math to calculate the hyperfocal distance is as follows:

HyperFocal = (FocalLength * FocalLength) / (Aperture * CoC)

Thus, the Hyperfocal distance of a 50mm lens at f/2.8 on an APS sensor (Canon 30D in my case) is 146.85 feet.

Next we need to calculate the near point which is the closest distance that will be in focus given the distance bdetween the camera and the subject. The math here (yes, it gets SO much worse) is as follows:

NearPoint = (HyperFocal * distance) / (HyperFocal + (distance – focal))

This is somewhat  complicated because the focal length is in millimeters and those of us in the US are better with feet and inches still so if you want the end value to be in feet you have to do some more conversions. If we are using the same 50mm lens, at f/2.8 on an APS sensor at a distance of 10 feet (3048mm) then our HyperFocal distance is 146.85 feet (44,749.23mm), giving us a near focus point of 9.37 feet (2,856.66mm). Are we following along still? Did I lose anyone?

Alrighty then, let’s now calculate the far point distance, this is almost the same as before but using slightly different math, so here we go.

FarPoint = (HyperFocal * distance) / (HyperFocal – (distance – focal))

Without changing our values that we used before, we now know that are rear point is 10.72 feet (3,266.81mm). Take note that the near point is actually closer to you than the subject is, typically the focus is 1/3 in front of the subject and 2/3 behind the subject.

The final step is to calculate the total amount of focal distance. This is one I can even do without a calculator, we simply subtract the far point distance from the near point distance.

TotalDof = FarPoint – NearPoint

Giving our example so far we have a total depth of field of 1.35 feet (411.48mm).

Let’s get practical
Why on earth would you want to know this? The simple answer is you may not, nor may you ever care to know it. When shooting portraits, weddings, events, and pretty much anything else it really isn’t going to matter much. However, if you are the type that wants to set up a shot and have it be EXACTLY what you want, there is simply no other way to know what the camera is going to do. This is important in macro, food, and product photography. By knowing exactly where you focus points begin and end you can more accurately design and execute precise shots.

Ok, how about the easy way?
This is kind of like taking a digital photography class and having to spend a semester cooking your own B&W film, its good to know the theory before taking on the practical application. So how can we do this easier than having to pull a scientific calculator each time you want to set up a shot?

• f/Calc Spreadsheet (download) – This is an Excel spreadsheet that will do all the math for you. This was development by me and is free to use.
• f/Calc Windows and Palm App (website) If you want a simple but powerful Windows or Palm based application, f/Calc does Field of View, Angle of View, Magnification, Spot Meter, f Numbers, Depth of Field and Hyperfocal distance
• PhotoCalc for iPhone (website) – Not only does it do everything for DoF, it also incorporates a sunrise/sunset function, flash exposure calculator, and Exposure Reciprocation calculator.
• CamCalc (Market) Android App for Depth of field, field of view, focal length equivalents, flash calculations, color temp. conversion, miniatures, and sunrise, sunset.
• PhoforPho (Market) Android App with Exposure calculator, Hyperfocal calculator, DoF calculator, Timer, and Exposure compensation calculation for multiple exposures.

I know this has been a doozy of an article to read through just to get to some free or almost free (PhotoCalc is $2.99) tools to make it dead simple to do these calculation. Hopefully this will help you perfect your images help you to use depth of field to its full extent.

“Lost That Spare Tire” from PeptidBond. He will receive a new R-Strap from BlackRapid. They also announce the next contest “converging lines”. More info about this new contest will be posted tomorrow.

Later, Kerry sat with Master Photographer David Ziser. David is a high end wedding photographer who has recently made the switch from JPEG to RAW and discusses the reasons for making the switch.

David has also recently switched to the new Canon 5D Mk II and discusses the new camera and how video will play a role in wedding photography.

Be sure and check out David’s website at http://digitalprotalk.blogspot.com and watch for news on his upcoming seminar.

Show Hosts

Kerry Garrison (http://kerrygarrison.com)
David Esquire (http://esquirephotography.com)

This podcast is also available on iTunes.

What is a RAW image?

By RAW, I mean an image that is shot with your camera image quality set to RAW mode which stores the actual sensor data for the scene that was shot. This is different than a JPEG image that is a rendered image of the RAW data that has different effects applied to it by the camera such as sharpening, saturation, and contrast. A good quality JPEG image can look incredibly good and can be printed at large sizes and will look great. A RAW image will need some form of software program to convert the RAW data to something usable. The most popular programs for this today are Lightroom, Photoshop, Aperture, Capture One (Nikon), and Digital Photo Professional (Canon).

Is there a technical difference?

Anyone that tries to tell you there is no difference in image quality between a RAW image and a JPEG is simply mistaken or ill-informed. From a purely technical perspective, a RAW image will always give you a better image. A RAW image simply has more data, for each pixel there is at least twice as much data on older cameras like my 30D and as much as eight times as much data with newer cameras that have more bit depth. This means that a RAW image has the ability to have a greater tonal range than a JPEG. A RAW image will also then have greater latitude than a JPEG image, giving you the ability to process the image to recover shadows and highlights more than you can if you started with the JPEG. Since white balance settings are applied when an image is saved as a JPEG, shooting in RAW will allow you to adjust the white balance during post processing without sacrificing any image data.

This is not an opinion, it is a pure technical fact. So let’s accept that this is true and that RAW has a distinct technical advantage over a JPEG saved from the camera. I don’t think we need to debate that RAW has an inherent technical advantage and I think some people get caught up in this. I think the real issue is whether or not you need the advantages of RAW versus the negative reasons for using RAW that we will look at later.

Getting down with the downside of RAW

The big debate over RAW vs JPEG is whether or not the pros outweigh the cons so let’s look at the cons and see what the downside of using RAW images is:

• Increased file size
  This is probably the biggest issue there is. RAW images are considerably larger files than their corresponding JPEG images. With my 30D, a RAW file will typically be around 5mb while a fine quality JPEG will be around 1.5mb. As the megapixel count goes up, the files get downright huge with RAW images from a new Canon 5D MkII being around 22mb each. If you are shooting lots of images, at a wedding for example, then the larger size of RAW files will be a significant hit. Since the files are larger, they will require more horsepower from your computer to process. For the same number of images, you will need more flash card storage.
• Specialized software needed to process
  If you can call Photoshop, Lightroom, or Aperture specialized software, then yes, you will need something like this or use the software that came with your camera. If you use something other than these programs then you may have issues dealing with RAW files. For a brand new camera, you may have to wait for updated versions of these programs before they can recognize your files. This also means that if your camera is discontinued in the future, there is no guarantee that your camera’s format will always be supported (this is a good reason to use DNG files, but that’s for another article).
• RAW workflow is different than a JPEG workflow
  Is it? If you are already using Aperture, Lightroom, or Adobe Bridge for processing JPEG’s, then there is little to no change in your workflow. Two years ago, before tools like Lightroom and Aperture, working with RAW images was such a pain that RAW was said to mean “really awful workflow”. Since many of us are using Lightroom and Aperture now, there is little to no changes at all for working with RAW files other than they take longer per image to download off a CF card.
• RAW images in third party tools don’t look as good as the JPEGs
  This has been a real serious problem for a while as only the camera manufacturers really have the secret sauce for decoding their RAW images properly. Adobe has pretty much solved this issue with Lightroom 2.2 and the inclusion of camera profiles that setup the RAW processor to match the settings used to create the JPEG images in your camera.

Again, we are looking at facts here and not opinions, but it is important to understand that there is a downside to using RAW files even if I personally feel that the negatives are typically blown a bit out of proportion with the exception of the increased file size which can be a really significant issue for heavy shooters.

The non-destructive workflow

One of the biggest advantages of shooting RAW is that it inherently provides you today with a non-destructive workflow. What it means is that there is no image degradation between saves and any given step in the editing process can be removed. If we are using any of the three most popular tools today (Photoshop, Aperture, or Lightroom) then when we edit a JPEG, and make our changes, those changes are permenant, and because we just re-saved our image as a JPEG some compression has occured, every time we do this we lose some image quality. Sure you can make multiple copies along the way so you can go back to previous versions, but that negates the whole point of JPEG’s saving disk space. I personally work in Lightroom and I can take my RAW images and apply as many edits to them as I want but these changes are simply stored as a set of instructions to Lightroom, thus the original image is never modified. This also allows me to make virtual copies of an image so I can have a color, B&W, Sepia, or dozens of different versions of an image and take up only a trivial amount of disk space since it is only storing the steps to make the changes and isnt storing a new copy of the image itself and again, no matter what I do, there is no image quality lost at all during the post-production process.

Is anyone still using JPEG these days?

If nobody was shooting JPEG anymore than I wouldn’t have so many questions about it but are any real professionals shooting JPEG and the answer is yes.

Carlos Baez is a wedding photographer from Florida, this is someone who makes his living delivering top quality images to high paying clients and yet Carlos shoots JPEG because he can consistently deliver great images without the extra overhead of RAW files. Carlos is an expert at lighting and understanding exposure so he doesn’t rely on post processing to get his images right.

Ken Rockwell is a huge advocate for shooting in JPEG mostly because a lot of people use it as an excuse to not get the image right in camera. Although he has an article about this (http://www.kenrockwell.com/tech/raw.htm). I have posted a link to his article because he does make a few valid points but I think he does go over the top a little on some of the negatives while I do agree that many people use RAW without either knowing why or using it to correct their mistakes from not knowing how to use their camera properly.

Pros against JPEG

It’s only fair that I point out a few pros who have made the switch to RAW and some of their reasons for doing so.

Scarlett Lillian from Florida has been shooting RAW since she started shooting weddings but then tried going to JPEF to save disk and CF card space. After really giving it a try, she finally switched back to RAW because she felt she just wasn’t getting the color and skin tones from the JPEG files that she was when she was using RAW. She uses Photoshop with Bridge as her workflow tool.

David Ziser is, without a doubt, one of the biggest names in wedding photography and recent convert to the RAW side. David’s big switch came when he started using Lightroom for his workflow and then discovered that the images he was getting with Lightroom and RAW files simply gave him a better image than starting with JPEG. David details his experience in a post on his site, although he also make a case for use JPEG for less critical shots that will never be printed at larger than 5×7. Anything destined for the album or enlargements he suggests shooting in RAW and the filler shots can safely be shot in JPEG to conserve space.

Rick Miller who is a Senior Solutions Engineer at Adobe does a segment when he is demoing Lightroom where he shows a picture of his girlfriends dog that is a white curly haired dog. Rick took a picture of the dog that when the rest of the scene is properly exposed, the dog is overexposed. Saved as a JPEG, the details in the dogs fur are completely lost and unrecoverable. The same image shot in RAW is able to use tools like recovery and exposure control to regain all of the detail in the dog’s fur. This demonstrates how even a shot that is technically correct for the rest of the scene may still suffer from being shot in JPEG.

RAW or JPEG – Which is for you?

Since I am far more likely to forget to change my camera from JPEG back to RAW when I need to, I simply leave it on RAW and take the disk space penalty. With a large wedding costing me around 10-12gb of space, it isn’t that big of an issue. If I upgrade this year to a 50D or 5D MkII and I move to having 30-40gb of space per wedding, I may have to rethink this strategy. What I like about shooting RAW for weddings is that in the thick of things, if you do make a small error in exposure or white balance, it is far easier to correct it afterwards. I don’t use this as a crunch, but it is a safety net.

To decide If you should stick with JPEG all you need to do is to take a close look at your images and compare them with what you can get from a product like Lightroom and then decide if your images are good enough or if any improvements that you get from using the RAW image are noticeable and worthwhile.

What do some other photographers say?

Mark Teskey “RAW only. Shooting JPEG is like working without backing up files or a second body/flash. There’s no safety net with JPEG.”

JE Images “RAW all the way. if I need to tweak anything then I have full access to all the info..”

Denise Clay “[I shoot] RAW – I used the best film I could that matched the job in film days, why not do the same now with the best digital file?”

MrsBoesch “I shoot JPG. It takes up less space on my hard drive, and I am of the opinion that you should try to “get it right” the 1st time”

So what are you to make of this?

There is certainly a case to be made that higher quality final images can be made from using RAW files and that shooting in RAW provides a technical safety net (even if you dont need it because you are wicked good). The main issues of working with RAW for me are the non-destructive workflow and the ability to have multiple virtual copies of an image without eating up more disk space. I do believe that almost all of the main complaints about RAW have been more than satisfied with current software leaving the issue of disk space and storage being the only real issue, albeit a signifigant issue for some people.

In the end, the only thing that matters is that you are happy with the images that you are delivering and if you are shooting for clients, that they are happy with the images you are delivering. If you are shooting in JPEG and are happy with your images and you see no compelling reason to switch, then don’t. If someone like Carlos Baez can shoot a wedding in JPEG and he makes a LOT more per wedding than I do, I am not going to tell him he is wrong for shooting in JPEG. On the flip side, if you are shooting in RAW and the disk space is killing you and you are good enough that your images require basically no tweaks for color, white balance, exposure, fill light, highlight recovery, or saturation, then you may be a good candidate for shooting in JPEG. It all comes down to a personal choice. There is no right or wrong answer to this debate, its just a question of what works for you in order for you to deliver the best quality images to your clients.

Author: Kerry Garrison

Overview

The VerteX is designed to give the ultimate in lighting control from a typical speedlight by allowing almost an infinite amount of adjustment. The VerteX is a mechanical device that can accept one or two panels on it to allow you to send the light in the specific direction(s) that you want.

The VerteX works by having a swinging arm that can have either one or two flaps attached to it that can rotate 360 degrees. Each flap has a mirrored side and a white diffusion side.  By adjusting the swing arm and the flaps you can split the light coming out of your accessory flash and send the light in different directions. Nothing else on the market today gives you this much control over your lighting.

Setup

Normally I would go into a real lengthy section and maybe even some step-by-step pics showing how to assemble a product. Bust seriously, the VerteX takes about 30 seconds to setup, you will spend more time reading this paragraph than you will spend setting the VerteX up. You take the two arms and snap them into place in the holes on the sides of the rubber band, push them together over the cross piece, and push the flaps into place, which are held there with magnets. That’s it. I find it easier to get onto the flash if you attach the rubber band to the flash head right after putting the two arms on and before attaching the cross bean and flaps. In under a minute you are ready to start taking pictures with the VerteX.

Usage

I am going to be really honest here, if you really don’t understand lighting, you may have trouble previsualizing what you can achieve with the VerteX. However, if you are the type of person who can look at a scene and know, for example,  that you want a slight shadow from one direction, a little fill up front, and some top lighting, then you will be able to use the VerteX to it’s full potential. Since you can split the light and send some forward, some up to bounce off the ceiling, some left to bounce off a wall, you can achieve lighting effects that otherwise would have required multiple strobes.

Results

Before getting into wedding photography I did mostly product photography so using multiple lights was second nature, getting into wedding photography felt very limiting as it really isn’t practical on most shoots to lug around multiple light sources, radio remotes, light stands, etc and the current light modifiers on the market work very well in specific situations, but there hasn’t been a product that could really give you the flexibility of multiple light sources from a single strobe head until the VerteX. Here are a few shots from a recent wedding where I used the VerteX to get some really nicely lit indoor shots.

Summary

While the VerteX may look like a homing beacon for an alien spacecraft, it does exactly what it is intended to do. I am thrilled with the control over the light that it gives me and enables lighting that simply wasn’t possible before.  For $49.95, it isn’t any more than other brand-name modifiers but it does give you a level of control that other products do not. I have used the VerteX at several weddings now and it has not come off my flash yet. The only real negative thing I can say is that if you happen to bump something and one of the flaps comes off, they are so light that you stand a good chance of not noticing since you usually wont hear it hit the ground. Most of the time I use it as pictured in the image to the right with only one flap, so if I actually lost one for good, I could get by for a while, so keep an eye on the panels wqhen you are moving your equipment around.

Here is a little video showing more about the VerteX and how I use it.

VerteX Light Modifer from Presslite from Kerry Garrison on Vimeo.

Product Review Scorecard

Product Page: http://www.presslite.com/vertexinfo.php
Company Page: http://www.presslite.com

Author: Kerry Garrison

Certainly some people think that David has lost his marbles, but is he completely off-base here? Even Chase Jarvis has some thoughts on this idea. I do not believe this idea is anything really new here, and perhaps explaining it in the way David does may make it sound like something new and unique. The fact is, many of us have done free work for a variety of different reasons. Here are some examples of what I have done, and often continue to do with any money exchanging hands.

Work with models when I need subjects for lighting tutorials or to experiment with new products
Absolutely, I don’t get paid for writing articles for CameraDojo (any potential sponsors, please contact me) so when I need subjects for shoots to try out new lights, techniques, or for a subject of an article, I turn to craigslist or Model Mayhem to find someone that will work with me in exchange for some nice headshots, body shots, or whatever they need for their portfolio. Since I am not bound by any constraints during these shoots, some of my best work has come out of some of these collaborations.

Shooting with big names in the industry
My bread and butter is wedding photography and I have had the pleasure of shooting with a number of excellent photographers which is how I learned the ins and outs of the business. I did plenty of those shoots for free in order to learn that segment of the trade. I would still be willing to second for the likes of David Ziser, Dane Sanders, Mike Colon, Frank Salas, or a number of people who are vastly more successful than me in order to get the experience working with them.

Social Interaction with other like-minded people
Two weeks ago I got together with a number of other photographers up at Robert Evans’ studio in North Hollywood to do a trash the dress shoot for a couple. They probably ended up with hundreds of images from a dozen photographers, none of which charged a nickle. Robert opened his studio, I brought fog machines and dry ice, Candice supplied several dresses, and a dozen people worked together on a project that was for the betterment of all involved. This was so fun and worthwhile, we have decided to try to do it once a month.

I suggest you take a good read at David’s article as well as Chase’s response and think about what you are doing with your photography. This will actually tie in well with next week’s podcast with Dane Sanders about figuring out who you are as a photographer. In these tough times, we need ideas that are outside the box, those who survive and push through, those who do whatever it takes to weather the storm and find ways of improving themselves at the same time will flourish as things get better.

Author: Kerry Garrison

With Extreme 24.5-Megapixel Resolution, Processed Image Files Exceeding 138 MB, Five Frame-per-Second Burst Speed and Nikon Core Technologies, the D3X Ushers in a New Level of Image Quality

MELVILLE, N.Y. (Nov. 30, 2008) - Nikon Inc. today announced the D3X, an FX-format digital SLR featuring extreme 24.5-megapixel resolution and superb low-noise capabilities, which provides professional photographers with commercial-quality image performance in a familiar and extraordinarily versatile D-SLR form factor. In conjunction with the groundbreaking Nikon FX-format D3, the D3X tops off a collection of flagship level, rugged, professional caliber digital single lens reflex cameras engineered to excel in all types of professional photographic disciplines from photojournalism and sideline sports, to commercial in-studio applications.

The foundation of the enhanced performance of the D3X is its FX-format, 24.5-megapixel (6048 x 4032) CMOS sensor providing commercial, high fashion, fine art and landscape photographers with the extreme resolution, dynamic range, color depth, detail and sharpness that clients demand. Whether creating catalogs, magazine covers, billboards or gallery prints, the large 5.49-micron pixel size and high signal to noise ratio produces vibrant images with breathtaking image fidelity while reducing lost highlights and shadows, and ensuring smoother tone reproduction with minimized noise. With full resolution shooting speeds of up to five frames-per-second (fps), and 14-bit files, that when processed are approximately 138 MB, the D3X offers today’s photographic artists an extreme level of performance and versatility ready for demanding assignments in the studio or on location.

“In 2007, the 12.1-megapixel FX-format D3 delivered groundbreaking digital SLR image quality, coupled with incomparable high ISO, low noise performance and high-speed handling. In doing so, the D3 broke photographic barriers, enabling photographers to work in ways never before possible,” said Edward Fasano, general manager for Marketing, SLR Systems Products at Nikon Inc. “Now, the new 24.5-megapixel FX-format D3X D-SLR provides the extreme resolution and high dynamic range capabilities needed to meet the extraordinary needs of photographic disciplines such as high fashion, commercial advertising and fine art. The D3X delivers this remarkable capability while fitting seamlessly within the Nikon system, taking full advantage of Nikon’s world-renowned collection of NIKKOR lenses and Speedlights.”

Image Quality Takes Center Stage
To re-emphasize the importance of image quality above all else, the D3X delivers an incredible level of digital SLR performance to provide photographers with extremely high resolution, exceptional dynamic range, phenomenal total gradation and outstanding color reproduction. Image files can be recorded as TIFF, JPEG or NEF (RAW) formats in either 12- or 14-bit compressed or uncompressed formats, and recorded to UDMA compatible CompactFlashâ„¢ cards for optimum speed. Photographers can save image files directly to the dual card slots as overflow, backup, or as separate file formats to different cards. Building on the D3X’s flexibility, users have the creative option to shoot in the 5:4 crop mode with 20.4-megapixel resolution, the ideal format for creating 8 x 10-inch portraits. While using DX-format lenses, faster continuous shooting of up to seven frames per second can be achieved at a resolution of 10.5 megapixels.

The exceptionally low noise of the D3X is essential to any professional commercial application, and it provides photographers with an ISO range of 100 to 1600, expandable to 50 (Lo-1) and 6400 (Hi-2). The ultra smooth tones and lack of grain at ISO 1600 as well as at low sensitivity settings result in smooth, natural skin tones and exacting detail that, before the D3X, required larger and far costlier studio-bound camera systems.

Advanced Technologies, Meticulously Executed
In a commercial setting or on location, imaging professionals need high performance in both speed and processing. The Nikon D3X can shoot at up to five fps at full resolution or up to seven fps in DX crop mode, allowing photographers to catch the split-second difference in a model’s expression or capture all of the action in a sequence. Just like the D3, the D3X achieves a start-up time of a mere 0.12 seconds and a shutter release time lag of 0.04 seconds.

The D3X’s speed, as well as high levels of performance, leverages Nikon core technologies including a newly enhanced EXPEED™ Image Processing System, specially designed for the D3X to provide superior image quality, faster processing speeds and lower power consumption. This advanced system is able to achieve extremely precise color reproduction for a broad spectrum of hues, in addition to vivid saturation and smooth gradation. What’s more, Nikon’s advanced noise processing function is engineered to minimize noise at all sensitivities and operate seamlessly without interfering with other image color parameters.

The D3X also features Nikon’s exclusive Scene Recognition System, which continuously analyzes information from the 1,005-pixel RGB light sensor, to further refine auto exposure, auto white balance and autofocus calculations. This results in flattering portraits and awe-inspiring landscapes that portray accurate color and fine details. Nikon’s exclusive 3D Color Matrix Metering II helps ensure accurate exposures, even in the most challenging lighting conditions. Instantly evaluating each scene before capture, input data from the system’s sensor is automatically referenced against an internal database of more than 30,000 images derived from actual photographs to calculate correct exposure values. Active D-Lighting, used in combination with 3D Matrix Metering II, helps to determines proper exposure, and creates realistic contrast while compensating for lost shadows and highlights. Prior to shooting, users can choose from Extra High, High, Normal, Low or Off settings, as well as an Auto mode.

Additionally, the D3X features Nikon’s exclusive Multi-CAM 3500FX focus module, with 51 AF points, 15 cross type sensors and 36 horizontal sensors that easily track and lock onto moving subjects, delivering the same fast and accurate AF performance that helped make the D3 immediately successful. Users can select any of the AF points, making it easy to consistently attain accurate focus right on a subject’s eyes, frame after frame. Additionally, three AF-area modes – Single point, Dynamic-area AF and Auto-area AF – are available to maximize the use of the 51 focus points by selecting the most suitable one to match subject conditions. AF is also available in one of two Live View modes optimized for the studio, including a phase detection handheld mode and a tripod mode. This feature allows the user to zoom in up to 27x on the LCD screen to ensure critical focus. While in Live View, the graphic indication of a virtual horizon is also available, making it easier than ever to confirm camera orientation.

To further ensure each photographer’s ability to balance their personal style, Nikon’s Picture Control System enables users to adjust their images to pre-set parameters such as Standard, Neutral, Vivid and Monochrome that apply tweaks to image sharpening, tone compensation, brightness, overall tone and saturation. Photographers have creative control over these image parameters with the use of up to nine available customizable presets.

Synchronizing Both Form and Function
Engineered for real-world functionality, the D3X retains a rugged shell with moisture, dust and shock resistance that has become a hallmark of flagship Nikon D-SLRs, while preserving the usability and ergonomics that allow the camera to remain an extension of the photographer’s vision. Attention to detail goes so far as to include a self-diagnostic shutter system that is tested to exceed 300,000 cycles for maximum durability and longevity. The camera’s body also maintains the resilient magnesium alloy construction and form factor of the D3, promoting consistent Nikon system synergy.

A bright and accurate viewfinder offers 100 percent coverage with 0.7x magnification. The body also houses Nikon’s acclaimed 3.0-inch super density LCD screen, now relied upon by so many photographers. The high-resolution 920,000-dot screen is viewable at wide angles up to 170 degrees, and will allow photographers to quickly zoom in to confirm critical focus. Users can also output the video signal to an external display via HDMI to allow client viewing. Thanks to incredibly efficient internal circuitry, the D3X can capture up to 4400* shots per single charge of the camera’s Lithium ion battery.

System Strength Withstands the Test of Time
The D3X is fully compatible with Nikon’s Creative Lighting System (CLS) to give photographers a mobile lighting solution that is easy to manage. To further enhance mobility, the D3X is compatible with Nikon’s GP-1 GPS receiver to gather information such as latitude, longitude, altitude and date of shooting. Photographers can easily shoot tethered via USB, or use the WT-4a wireless transmitter to send images wirelessly when speed and mobility are essential. D3X users will also enjoy the system strength of more than 50 genuine NIKKOR lenses that provide outstanding sharpness and high resolution across a broad range of focal lengths.

Price and Availability
The Nikon D3X will be available at Nikon Authorized Professional Dealers starting December 2008, and will be available for an estimated selling price of $7999.95.**

* Based on CIPA Standards
** Estimated selling price listed is only an estimate. Actual prices are set by dealers and are subject to change at any time.

We knew when we sat down to write this review that many of your would be sitting there thinking that the guys at the Dojo had totally lost it if all they can come up with for a product review is a simple camera strap. In all seriousness, we have appealed to every company we know to come up with a better camera strap. The two main issues we have are comfort for shooting all day long and the security that your camera won’t fall off your shoulder. If someone could solve these two basic issues then it would surely rate a full blown product review article, BlackRapid has done exactly that with the new R-Strap.

David using the R-Strap

Overview
Take 10 pounds or more of camera equipment and hang it on your shoulder for 8-10 hours and you are simply going to be sore, this is just something we have come to expect over the years. Some manufacturers have tried to overcome this with thick padded sections so while this may help a little the fact that the weight is still pulling down on one shoulder cannot be overcome. The second main issue is security. Most straps have some kind of rubberized surface to help keep them from slipping off your shoulder. We have never found a strap that combines both comfort and gives you confidence that it’s not going to fall off. I often carry two cameras at a wedding and am in constant fear that one of them is going to take a header onto the pavement, so when I know I am not going to use one for a while I bring the strap up over my head to make sure it won’t fall off, but this makes it very difficult to shoot. BlackRapid took this simple idea and created the R-Strap.

Kerry wearing the R-Strap

How it works
Think of the R-Strap as an oversize camera strap, but instead of the strap attaching to the standard strap mounts on your camera, it is a continuous loop. The camera is attaches to the strap via a sliding ring so the camera can move around without the strap moving. The sliding ring attached to the D-Ring on the bottom your tripod mount or via at attachment piece that comes with the R-Strap.

Because the strap goes around one shoulder and the camera rests at your hip on the opposite side, the weight of the camera feels more like its down the middle of your body instead of one shoulder. This is significantly more comfortable and it completely eliminates the possibility of your camera slipping off your shoulder.

When I first saw the R-Strap and tried it on, my first reaction was something like DUH!!!! How is it that the greatest minds on the industry that have taken us into the digital age and into sensors that can push 60 megapixels haven’t improved on the single most important interface you have to the camera since the introduction of the SLR?

I’m really being serious here. The lowly camera strap hasn’t been improved virtually at all and it took BlackRapid to finally take the basic camera strap and make it comfortable and safer around your neck. I really hope this makes the big camera makers feel stupid for not addressing this most basic needs of ALL camera owners.

In Shooting Position

Setup
Since the R-Strap connects to the D-Ring on the bottom of your tripod mount plate, many of us who keep the plate on our cameras have only to connect the strap to the D-Ring, adjust the length and stopper and you are set to go. This is FAR easier than trying to connect any traditional strap to a camera.

Once you have it on, you will want to adjust the length, this is going to be personal opinion but you will find there is a certain “sweet spot” that gives you the best position when the camera is down and allows you to bring it up fast and get the camera into position easily. There is piece that you will want to adjust down to the camera when it is resting at your side, this will help you to quickly position the camera and keep it from sliding back.

Adjustment Point

Usage
You first want to get the R-Strap adjusted properly. For most people you want to be able to pull the camera up and be able to hold it 6-7 inches away from your face, this will give you plenty of freedom to move around.

I will certainly admit I was a little uneasy at first dangling a couple grand worth of hardware on a $49 strap that connects to the D-Ring on the tripod mount, but within a short period of time I became very comfortable with it and the ease of using the camera with the R-Strap paid for itself over and over again. After while it becomes very natural to place the camera at your side and then reach for it and sling it into shooting position.

R-Strap hanging at David's Side

Results
Ok, so you have a strap that won’t fall off your shoulder, feels very comfortable to use, and doesn’t cost a fortune, But wait! There’s more! Not only does the R-Strap keep your gear secure, there is a side benefit of not being nearly as sore after a long shoot. Both David and I have both been using the R-Strap for about a month now and have shot a handful of weddings and events, because the weight is distributed differently, the neck pain normally associated with long shoots is greatly reduced. While the security and comfort make the R-Strap worthwhile, the comfort level makes it priceless. Every camera should come standard with and R-Strap!!

With the R-Strap I can easily put my camera down at my side and walk up to people to pose them without poking them with a big lens.” – David (Esquire Photography)

Summary
I’m sold! I am not taking the R-Strap off my camera! I vow to never use a regular camera strap again. David (Esquire Photography) is also a convert and uses a R-Strap on every shoot.

Final results:

Website: http://www.blackrapid.com
Author: Kerry Garrison

Website: ifoundyourcamera.net