In celebration of our new book titled The Nikon Autofocus System, I have another photography tip for sports and wildlife photographers.
If you have ever photographed your children playing sports, then you’ve no doubt come across the scenario where another player on the field gets in the way of your shot. Typically, what happens is that you are tracking focus on your daughter when another player crosses between you and your daughter. This of course causes the camera’s autofocus to jump to the other kid, resulting in a missed shot.
Nikon and Canon have a solution for this in the menu systems on most of their higher-end cameras. The Nikon menu item is called Focus Tracking with Lock-on and can be found in custom settings menu a3 or a4. The Canon menu item is called AI Servo Tracking Sensitivity and can be found in menu AF 1 on cameras like the EOS-1D X and 5D Mark III/5Dr.
The purpose of these menus is to help the camera better track focus on subjects that are moving through busy or cluttered environments. These menus let you adjust the amount of time the camera waits to refocus on a new object that passes between the main subject and your camera.
Let’s say you’re photographing a team sport, and your intention is to photograph a specific player such as your daughter. The first step is to set your focus servo to AF-C (Nikon) or AI servo (Canon) so you can track movement.
Now, suppose your daughter is running on the field and you’re doing your best to track her as she moves. At some point during the game, another player is bound to run between your camera and your daughter. This presents a dilemma for your camera’s AF system. Should it immediately jump to the new player, or should it let that player pass while maintaining focus on your daughter?
In this example since you’re trying to photograph your daughter, you want the camera to let the other player pass by while maintaining your intended focus distance on your daughter. To accomplish this, set the menu item to a long delay, which allows temporary objects to pass by, thereby keeping focus on the original subject.
With the long setting, the autofocus system waits approximately 1.5 seconds. In other words, if the interfering player stands between you and your daughter for less than 1.5 seconds, the autofocus system will keep the focus distance on your daughter’s position. If the interfering player stands between your daughter and the camera for more than 1.5 seconds, the autofocus system will refocus on the new player.
Most higher end Nikon cameras have up to six settings for this menu item while the Canon cameras have 5 settings. In my experience, photographers either need to set menu item for a long delay (1.5 seconds) or they wanted to set for no delay. The available settings are as follows:
5 (long): About a 1.5-second delay
3 (normal): About a 1-second delay
1 (short): About a 0.5 second delay
Off: No delay; the camera refocuses instantly if another subject comes between you and the main subject
Another example of when to use this setting is when you photograph a lion on the Serengeti Plane of Tanzania. Suppose you are tracking a lion as it walks through tall grass. You’re doing your best to keep the autofocus point on the Lions eye when it saunters behind a tuft of grass. In this situation, you don’t want the autofocus system to jump to the tuft of grass; you want it to stay focused on the lion. Again, set the menu to long delay to tell the camera to ignore the grass as it passes by the autofocus system while you track the lion.
I encourage you to try these settings on your own to see what works for you.
Want to learn more about autofocus on Nikon cameras? Check out our brand new book titled The Nikon Autofocus System, Mastering Focus for Sharp Images Every Time.
I was out photographing a cross-country race last night and had one instance where my lens would not track focus on some runners that were coming right towards me. AF tracking of runners is something that is very straightforward for the Nikon D750 autofocus system coupled with a Nikon 70-200mm f/2.8 lens. This combination is excellent for sports photography and should have done a great job in this situation.
I had the camera set for group-area autofocus, which means there are five AF sensors that work together in a group to track the subject as it moves. I also had the camera set for continuous autofocus (AF-C) and continuous high (CH) frame rate. I was holding the camera in the vertical orientation with the shutter release down towards the ground, while holding the lens with my left hand cradling the lens barrel.
After the camera didn’t track focus for one set of runners, I immediately looked at all my settings to make sure they were correct. Sure enough, all the lens switches were set correctly and all the camera settings were set correctly. Hmm.
My next troubleshooting step was to see if my lens was mounted correctly. Sometimes if the lens isn’t fully clicked in place the electronic contacts can prevent auto focus. I wiggled the lens a little bit in the mount and found that it was okay as well. Hmm.
So, what was causing the autofocus problem? Well, on the next set of runners that came through I held the camera in exactly the same orientation, looked at my left hand and noticed that my fingers were resting on the manual focus ring of the 70-200mm f/2.8. Aha! With a silent wave focus lens like the Nikon AF–S lenses, if you rotate the focus ring while trying to autofocus, then the autofocus system will stop and the camera will immediately revert to manual focus.
This is generally a good thing and I use this technique all the time when photographing wildlife. It allows me to autofocus quickly on the animal’s body, then I can rotate the focused ring manually to fine-tune autofocus without having to change my composition. In the case of the cross-country runners last night, I simply bumped the manual focus ring, which kicked me out of autofocus for a short period of time. I made a rookie mistake and I won’t be making it again.
The moral of the story is when holding an AF-S lens, make sure you know exactly where your hand is placed and don’t rotate the focus ring when trying to autofocus.
Want to learn more about autofocus on Nikon cameras? Check out our brand new book titled The Nikon Autofocus System, Mastering Focus for Sharp Images Every Time.
New camera company light announced today their L16 point and shoot camera. Their claim is that users will experience DSLR quality in a camera the size of a mobile phone. They plan to accomplish this with an array of 16 different cameras built into the main body. At any given time, 10 of the 16 cameras will be taking the photos, then their algorithm pieces together a final image to form an image file up to 52 megapixels.
Here are some of the interesting specs from the camera:
– 35-150mm equivalent optical zoom
– 52 megapixels
– Ability to shoot RAW (DNG), JPG, or TIFF
– Operates on Android, so you’ll be able to use any Android app.
– Ability to adjust focus and depth of field after taking the shot
– Wi-fi download of images
– 4K video
– Excellent low-light performance
– Wide dynamic range
This is sure to be a game changer.
If you want to order your own, please use this special “friends and family code” from my friend Michael Rubin who works at Light.co.
Friends and family link: Light L16 pre-orders
Friends and family discount code: FFMR96.
Also, check out their current reviews page for customer feedback: Light Camera Reviews
One of my favorite things to do is lead private workshops for individuals who want to take their photography to the next level. I’ve been teaching photography and running photo workshops since 1998 and find that sometimes the best way for a person to learn a specific topic is via one-on-one mentorship.
I like to think of of private workshop sessions as a great way to turbocharge someone’s photographic skillset. Some individuals thrive while learning in a group setting while others learn best in a one-on-one environment.
The advantage of a private workshop is you get to learn exactly what is most important to you. Over the years, I’ve taught photographers just about every photographic topic imaginable.
Individuals have wanted to spend an entire day learning off-camera flash, so we set up a studio and did exactly that until they fully learn the process. Others have wanted to learn best practices for landscape photography, so we traveled to a beautiful location and practiced exactly that skill. Many individuals have just purchased a new camera before taking a vacation to Europe. Together, we spent a day setting up the camera’s menus and buttons while also learning the overall operation.
There are a variety of ways I teach private workshops. Each is customizable to your own learning style or photographic interest. Whether it is for an hour, half a day, full day or multiple days in a different country; you name it, I’ve done it. Some of the venues where we meet for private workshops are:
1. At my office in Gig Harbor, Washington
2. At the client’s house
3. At the client’s business location
4. Over the Internet via Skype or Google+ video hangout
5. At a predetermined outdoor location like a park or waterfront
6. Over a weekend in the city
7. Over the course of a week in a scenic area or a foreign country
For each person’s private workshop, I put together a learning plan that covers all of the topics the client wants to learn. We talk about the learning objectives in advance of our meeting and then agree to a final plan for our time together. Here’s an example of a learning plan for a 4-hour workshop I ran last week:
As I mentioned above, people have asked me to teach on just about every photo subject. Here are a few stories of people I’ve recently worked with:
Michael V. flew in from California for three days of private instruction. His goals were to learn the Nikon D810, learn Lightroom CC, and learn autofocus techniques in the field. Each day was planned out in great detail to help him learn digital photography from the ground up. He used to shoot extensively with his collection of Nikon F film cameras, but stepped away from photography for a few decades to focus on his career. Now that he’s retired, he wants to get back to the joy of photography. After three days, he was all set to move forward in his photography after feeling comfortable with the operation of the Nikon D810 and comfortable working with Lightroom CC. This three-day private session was just what he needed to get over the steep digital learning curve.
Kids and Travel
Scott J. and Matt J. are a father and adult son who both own Nikon DSLR cameras. They travel quite a bit and each has family that they love to photograph. They spent a day with me to learn their cameras, better understand exposure control, and set up their autofocus menus properly for children’s sports and international travel. Matt’s young daughter has started playing youth soccer, so one of his goals for the private session was to improve his camera skills in order to get great photographs of his daughter in action. Scott travels with his wife all around the world. They are planning on taking a three-week-long European river cruise and wanted to make sure everything was set up with his camera system before leaving on the trip. He also wanted to practice autofocus techniques as they pertain to travel photography. We set up scenarios to mimic sports photography and travel photography so each could practice their craft under real-world situations.
Camera Operation and Exposure Theory
Hannah D. and Angela C. live in northern Washington State, about two hours from my office. We met at a lakefront park mid-way between our towns to go through exposure control, metering usage, autofocus techniques, menu setups, and video usage. Both wanted to become better with landscape and portrait photography. Both Hannah and Becky are hands-on learners, so we spent the entire private workshop outdoors, going through real-world scenarios.
Dr. B. is a cosmetic dentist who wanted to set up a photo studio in his office to photograph before/after shots of his surgical clients. We spent a few hours setting up the studio including lighting equipment, backdrop, gels, camera, etc. Then, we allocated the rest of the day to working on photographic technique and digital asset management.
Monthly Mentorship Over the Internet
David S. is a photographer in southern California. We schedule one-hour Internet sessions approximately once a month to go through camera technique, image reviews, Lightroom methods, and lots of other photo-related topics. We use Google+ hangouts to host our meetings since it allows us to share video, share screens, while communicating in a very natural way.
Photoshop and Computer Setup
Ray V. is a retiree in Florida who is a very active photographer. He hired me to come to Florida for a three-day private session where we spent the majority of time learning Photoshop techniques, improving his digital asset management system, and setting up his computer for optimal performance.
Sam B. from Chicago, Illinois wanted to learn how to be a better street photographer. He travels quite a bit for business and loves to photograph the cities he visits along the way. He was feeling a bit insecure about photographing people on the street, so he flew to Seattle, Washington so we could spend a day together. We walked the city streets while photographing people and street performers, while working on his people interaction and photography skills.
New Camera Operation
Tom G. flew in from San Diego for four hours of private instruction on his Nikon D750. We met at a waterfront location in Gig Harbor and spent the morning going through camera operation and autofocus technique. We also worked on setting up portable lighting equipment for location portraiture. He flew back to San Diego that evening learning exactly what he wanted to know.
Backcountry Hiking and Photography
Ron L. is a businessman from the southern USA. He loves hiking and has always wanted to photograph the wild areas of Washington State. I set up a photo itinerary for Ron that included scenic vistas, beautiful seascapes, and towering mountains. Together, we’ll spend four days hiking and photographing the best of Washington State.
Sarah M. is a high school sports photographer who was having trouble consistently getting sharp photographs at football games. We set up a private workshop where we spent a few hours going through technique and camera setup, then the remainder of our time together we spent at an actual Friday night football game on the sidelines. We photographed the game together, going through technique and method while reviewing shots in real time.
If you are interested in a private workshop, feel free to email or call and we’ll set up a date. For more details on private workshops, check out our workshop page here: http://visadventures.com/services/private-photography-lessons/
Our newest book, The Nikon Autofocus System, is now available for sale as an eBook over at the RockyNook website. Use coupon code NIKONAF to get 40% off the eBook when ordered from the Rocky Nook website:
With today’s advanced camera technology, achieving focus on a photographic subject seems like it should be a straightforward task. But many photographers know that it can be deceptively difficult, especially when shooting moving subjects or in challenging situations. Now, there is a complete guide available for Nikon shooters that will help them get tack-sharp photos every time.
In The Nikon Autofocus System, photographer Mike Hagen, author of the bestselling The Nikon Creative Lighting System, takes his deep knowledge of Nikon technology and concentrates on its focus features. In this book, which covers all current Nikon DSLR models, Hagen fully explains how Nikon autofocus works, including detailed discussions of all the autofocus modules, drive systems, and camera buttons and menus. He also devotes an entire chapter to explore how focus works with Nikon’s lenses.
Armed with this general knowledge, Hagen then dives deep and offers camera setups, settings, and best practices for specific field techniques that address the photographic genres that are notoriously challenging for focus: action and sports (indoor and outdoor), wildlife (including birds in flight), and macro photography. He also covers genres such as portrait, landscape, underwater, low-light, and street photography. Hagen not only advises on the best ways to set up the camera and focus systems, he gives helpful tips and tricks throughout the book.
The Nikon Autofocus System also covers:
• Live view autofocus methods and settings
• Achieving great focus in video
• AF tracking
• AF shooting styles, such as back-button AF and shutter-release AF
• HDR, panoramas, and other techniques for shooting with a tripod
• An entire chapter on additional terms and techniques, such as hyperfocal distance, calibrating lenses, focus and flash photography, and more
Peter Hurley is an icon in the portrait photography world and has made a name for himself by specializing in a specific type of portraiture called headshot photography. In his new book titled The Headshot, Peter explains his process for creating his own iconic and timeless headshot portrait.
His book is chock-full of beautiful photographs showing off his skills as a headshot photographer. The book is designed to outline the entire process from start to finish on how to set up studio lights to how to work with models to how to get the facial expressions that make the shot.
I think one of the best things about his book is his detailed description of how to talk to clients in a way that helps them produce the most compelling look. Peter talks a lot about how uncomfortable clients can be and how our demeanor as photographers impacts the flow of the photo session. After many years of experience, Peter has perfected the art of banter with the client so that they are able to put their best look forward.
Peter makes it clear that the key to getting great portraits is developing a strong rapport with your subject as fast as possible. To that end, he spends a large portion of the book describing different ways to keep the banter flowing during the photo shoot. Peter even includes an entire chapter at the end of the book titled Hurleyisms. This chapter full of different phrases you can use to elicit various expressions from your subject. He uses a ton of photographs demonstrating the different expressions people come up with after he makes a statement like, “Give me a look like you are impersonating a blowfish on crack.”
Not that I necessarily want to copy other photographers but when another photographer has a solution that works then I might as well use it. I’m going to steal some of Peter’s best lines for my own work. Thanks Peter!
He covers a great deal about the elements of a good portrait and has multiple chapters on specific posing methods. For example, one chapter is focused on working with posture, another chapter on perfecting the smile, and another chapter on producing his famous squinch. Towards the end of the book, he dedicates a full chapter on how to put everything together in what Peter calls “The Hurley System”.
My favorite posing tip in the entire book is what Peter calls “holding the sub.” Holding the sub is a wonderful slimming method for women and yet it is super-simple to implement. You’ll have to read the book to find out what holding the sub means, but it is really a great idea and I’ll start using it immediately.
Peter talks a lot about a process he uses called Sherlock Holmesing. Basically every portrait customer is a problem that needs to be figured out. What makes this person tick? What’s the best side of the face? Where are their flaws and how do I hide them? How do I draw out their personality? He makes it clear that there is no single answer in setting up the perfect pose; rather every person’s face needs to be figured out independently.
The big part of his book is learning how to get the perfect expression and Peter lays it out fairly clearly by explaining that the perfect portrait results from a combination of confidence and approachability. He calls this the C&A approach – confidence and approachability. Every great portrait shows off the subject’s confidence, while also displaying their approachability.
Peter makes it clear that the photographer’s role is to own the subject’s expression for them. It’s not good enough to just create a technically sound photograph. You have to capture the C&A look, so you need to work hard to get exactly the right expression. He says that we are our subject’s mirror and we have to tell them exactly what their face is doing while continually tweaking their expression until we get it just right.
I have to admit that I am a technical guy and I really gravitate to diagrams, figures, and gear. You won’t find a lot of tech in this book because so much of great portraiture stems from the relationship you create with your client. Understanding how to deal with people is just as important, if not more important, than the gear you use in the studio. Peter advocates spending copious quantities of time getting the technical side correct so that it doesn’t get in your way during the shoot. Once that is done then the remaining part of your photography is finding that perfect expression.
Peter uses a lot of funky terms and one of them is SHA-BANG. He uses this word throughout the book to describe the scenario when everything comes together. For example, he’ll say, “… SHA-BANG the absolute crap out of the shoot.” or “Shabangin’ the shot makes you want to stare at that sucker.” His enthusiasm and passion for headshot photography is evident, and you won’t be bored reading his book.
The Headshot is an excellent book for photographers who want to specialize in this specific genre of photography. The Headshot is laser focused on this one specific portrait technique and Peter Hurley is truly the master of this domain. If you’re looking for techniques on a multitude of studio photography methods or a book on a myriad of posing techniques, then this is definitely not the right book for you.
If you want to read the master’s thesis on headshot photography then look no further. The Headshot SHA-BANGS it out of park!
The Headshot, The Secrets to Creating Amazing Headshot Portraits is 223 pages and printed in full color. Buy your own copy in paperback or Kindle format here:
Taking pictures on a bright sunny day presents all kinds of challenges for our photography. One of the biggest issues we find is with white areas because they tend to blowout and lose detail from the bright reflected sun. Shooting images in RAW format will allow you recover some of the lost highlights in software as long as you don’t over expose the scene too much.
I work with a lot of photographers who are afraid of shooting RAW because of the perceived extra workload required to process them in software. I understand this fear, especially for people who have never spent much time working with photographs on their computers. The prospect of learning a program like Lightroom CC from the ground up can be especially daunting.
If your photos are important to you, then I want to encourage you to spend time to learn a RAW processing program like Lightroom CC. This software package and others like it are very capable and aren’t too big to learn as long as you are willing to invest a few hours of your precious time.
One of the most useful tools in Lightroom is the highlight slider. You’ll find this slider in the Develop module and it is designed to help recover highlight detail from over-exposed areas in an image. Take a look at this example photograph of boats at a marina (below). I photographed this a couple weeks ago in my hometown of Gig Harbor Washington on a sunny morning.
The scene appealed to me because of the calm water that produced fascinating reflections of the boats. The second thing I noticed about this scene was a man eating breakfast on the back of his boat while enjoying the morning sun. Using my Nikon D800 and a Nikon 24-70mm f/2.8, I set the camera for matrix metering and took the shot.
When I returned to my computer and downloaded my images, I saw right away that the white areas of the boats appeared to be blown out. In other words, there was limited detail on the white paint because of the brightness of the direct sun. Since I always shoot my images in RAW format, I knew that I would be able to push back some detail into those bright white areas by moving Lightroom’s highlight slider downwards.
The highlight slider is a very advanced tool and does an excellent job with recovering delicate highlight detail. In general, you should feel comfortable moving the slider down to the minimum position (-100) without causing too much visual degradation of the picture. In previous versions of Lightroom, you had to be very careful with the highlights slider because you never knew what would happen to those highlight areas. In some cases, the areas we just turn muddy and you would lose texture in the image. With the new highlight slider in Lightroom 5, 6 and CC, you should feel comfortable moving the slider to just about any position from zero to -100 on the slider scale. There are some photos where adjusting the slider to -80 or -90 doesn’t look good, but you’ll be able quickly see where the photo starts to break down and then you can re-adjust the slider appropriately. My general approach is to move the slider to where it recovers all detail, then back it off just a tiny bit to retain the realism in the image.
For this picture of the boats, I did a few things in order to push detail back into the highlights. The first thing was to move the exposure slider down by -0.30. This reduced the overall brightness of the photograph, including highlights, midtones, and shadows. My next step was to adjust the highlight slider down to the point where I was able to push detail back into the white areas of the boats. In this case it was about -70 on the scale.
My next adjustment was to increase the shadow slider to bring back information in the dark areas of the scene that I lost when moving the exposure down. Finally, I increased clarity and vibrance to add a little bit of punch to the image.
When comparing the before and after of the image, the adjustments I made were subtle, yet significant. If I was going to make a print of this image, the unedited version would have been terrible because the bright areas of the scene would have no detail and the image would end up looking flat. By recovering the highlights, I was able to salvage the shot.
Four of our 2016 photo workshops are posted and ready for signups. We’ll be going to Tanzania, Galapagos, Iceland, and Prague. I’m looking forward to seeing you and I know you are going to love these photo adventures and workshops. Great photography. Great food. Great people. I take great pride in putting together incredible journeys to the most incredible locations on earth. Join me in 2016!
Our Czech Republic and Prague workshop is a new destination for us in 2016. We’ll be traveling to during the second week of October, 2016 and our goal is to take advantage of the fall colors . Imagine photographing the Czech Republic’s castles, forests and cities with the backdrop of vibrant colors. It will be beautiful.
2016 Workshop Information Pages
Email me at [email protected] if you have any questions. I’ll get right back to you!
New Lenses from Nikon
Nikon announced three new exciting FX lenses today that address three very different needs for photographers: the 200-500mm f/5.6 VR, 24-70mm f/2.8 VR, and 24mm f/1.8. All will be welcome additions to the Nikon family and I’m especially looking forward to testing the 200-500mm f/5.6 VR.
Nikon 200-500mm f/5.6 VR
This is a new lens focal length range for Nikon and will compete with Tamron’s 150-600mm f/5-6.3 and Sigma’s 150-600mm f/5-6.3. A couple of years ago, Nikon rebooted their venerable 80-400mm f/5.6 and it was met with rave reviews. This new 200-500mm lens adds some reach at the long end and also adds a new Sports VR mode that is supposed to allow up to 4.5 stops of image stabilization.
Nikon 24-70mm f/2.8 VR
Building on the top-of-the-line Nikon 24-70mm f/2.8, the new 28-70mm f/2.8 VR adds a much-requested vibration reduction feature to this professional workhorse. I’ve used my legacy 24-70mm f/2.8 for years and have found this focal length to be well suited to everything from street photography to landscapes to travel to portraits. It is truly a great lens and adding VR is icing on the cake.
Nikon 24mm f/1.8
Nikon has been updating their line of prime f/1.8 lenses over the last few years and the 24mm f/1.8 is the latest in the series that currently includes a 20mm f/1.8, 28mm f/1.8, 35mm f/1.8, 50mm f/1.8, and 85mm f/1.8. These f/1.8 lenses offer excellent performance at just about half the price of the Nikon f/1.4 lenses. I currently own the 85mm f/1.8 and love it. I’m positive the 24mm f/1.8 will also be an excellent performer.
Nikon 200-500mm f/5.6 VR
Nikon 24-70mm f/2.8 VR
Nikon 24mm f/1.8
Here’s the press release from Nikon:
SOURCE Nikon Inc.
MELVILLE, N.Y., Aug. 4, 2015 /PRNewswire/ — Today, Nikon Inc. announced three exciting new NIKKOR lenses for professional and enthusiast photographers. The new AF-S NIKKOR 24-70mm f/2.8E ED VR is the evolution of one of Nikon’s most popular pro lenses, improving upon its versatility and image quality. Nikon has also announced two additional new lens options, including the lightweight AF-S NIKKOR 200-500mm f/5.6E ED VR, a super-telephoto zoom that gives FX and DX-format photographers incredible reach in a compact size. The AF-S NIKKOR 24mm f/1.8G ED is the latest addition to Nikon’s popular line of f/1.8 fixed focal length lenses and is ideal for those seeking a sharp, fast-aperture prime lens.
“These three very different lenses are representative of the diverse range of Nikon photographers, but they all provide the most vibrant, sharp images and HD video possible; with color and clarity that only genuine NIKKOR optics can deliver,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc.
AF-S NIKKOR 24-70mm f/2.8E ED VR Look into the bag of nearly any Nikon-wielding pro and you will find Nikon’s iconic 24-70mm f/2.8, and with good reason; this lens’ versatility and image quality has made it an essential workhorse lens for every type of shooter. The new AF-S NIKKOR 24-70mm f/2.8E ED VR improves upon its respected predecessor in nearly every aspect, adding the best Nikon lens technologies to create an essential optic. An exciting evolution to come to this lens is the much-anticipated addition of Nikon’s Vibration Reduction (VR) image stabilization technology. With up to four stops of image stabilization*, the new 24-70mm f/2.8 VR is ready to tackle the challenging light of a wedding ceremony or on-the-spot news, while Tripod Mode helps to banish blur for landscape shooters. VR is also a huge benefit to filmmakers shooting handheld or on a rig who already appreciate the lens’ depth-of-field control and precise sharpness.
The new NIKKOR 24-70mm f/2.8 utilizes Nikon’s Electromagnetic Aperture control, which allows for consistent exposures during high speed bursts of shooting. This lens also improves upon image quality with new optical construction to provide clarity and consistently sharp images, and is ideal for capturing portraits, landscapes and weddings. For nearly any assignment in any kind of light, the combination of a fast f/2.8 constant maximum aperture and useful zoom range make this lens the choice of many professionals. A first for NIKKOR lenses, a new Aspherical Extra-Low Dispersion (ASP/ED) element is paired with traditional aspherical, ED and High-Refractive Index (HRI) elements for a thrilling new level of optical precision. Photos and videos take on a beautiful balance of sharpness and subtle blur effects, virtually free of flare, ghosting, coma and chromatic aberration throughout the frame. Nikon’s exclusive Nano Crystal Coat is also employed to further reduce instances of ghosting and flare.
The new lens construction enhances durability and image quality, while retaining the overall balance and handling that made this a favorite of photographers in the first place. The lens is sealed and gasketed against the elements, and now features a fluorine coating on the front and rear element to make it easier to remove dirt, moisture and smudges from the lens surface. The optical formula consists of 20 elements in 16 groups, while a 9-blade diaphragm helps to create a pleasing, natural out of focus area with beautiful bokeh. Additionally, the AF-S NIKKOR 24-70mm f/2.8E ED VR features a new filter diameter of 82mm and will accept the new Nikon CPL2 Circular Polarizer and 82mm NC (Neutral Color) filters.
AF-S NIKKOR 200-500mm f/5.6E ED VR The new Nikon AF-S NIKKOR 200-500mm f/5.6E ED VR is an exhilarating new lens option, giving enthusiast FX and DX-format photographers the ability to go further with amazing zoom power and tack-sharp clarity. This compact super-telephoto zoom is ideal for bringing distant subjects closer, including birds, sports, wildlife and motorsports. This lens opens the doors for a fresh new perspective; with a maximum reach of 500mm on FX-format Nikon cameras and a staggering 750mm equivalent reach on DX-format cameras. With a maximum aperture of f/5.6, photographers have the ability to fill much of the frame with their subject and create a pleasing background blur, even in challenging light. This lens also features Nikon’s Electromagnetic Aperture for consistent exposures, as well as VR with 4.5 stops of image stabilization. Additionally, the VR features Sport Mode, which is well-suited for capturing vibrant, sharp images of distant subjects at high frame rates or when panning with fast-moving action. The lens also lets users focus as close as 7.2 ft. throughout the entire focal range, for when a decisive play comes closer than expected, or capturing intricate details of nature.
Whether spending all day at an air race or in the field, the new NIKKOR 200-500mm f/5.6 is surprisingly lightweight at only 5 lbs 1.2 oz. (2300 grams) including the tripod collar, making this lens easy to use handheld for extended periods. Photographers looking for even more reach can increase the zoom power using an optional compatible Nikon 1.4x, 1.7x or 2x E series Teleconverters** to capture even the most distant subjects.
The new AF-S NIKKOR 200-500mm f/5.6E ED VR’s optical formula features three ED elements to enhance sharpness and minimize chromatic aberration. A 9-blade aperture provides a desirable, smooth bokeh, while Nikon’s Silent Wave Motor technology helps to quickly and quietly achieve critical focus. The filter diameter of the new 200-500mm lens is 95mm, and Nikon will also offer optional 95mm NC (Neutral Color) and the 95mm Circular Polarizer CPL2 filters.
AF-S NIKKOR 24mm f/1.8G ED The AF-S NIKKOR 24mm f/1.8G ED is the latest addition to the exceptional system of NIKKOR f/1.8 primes, and provides enthusiast photographers with a fast wide-angle prime lens that’s both lightweight and affordable. This new lens lets photographers immerse viewers into landscapes, interiors and architecture with amazing clarity and minimal distortion, while a fast maximum aperture delivers superb bokeh and excellent low-light ability. Whether a photographer’s passion is capturing environmental portraits or the delicious details of a meal, this lens creates a dramatic separation between subject and background.
The new NIKKOR 24mm f/1.8 complements Nikon’s high-resolution DSLRs and provides amazing image quality thanks to Nikon lens technologies including Nikon’s exclusive Nano Crystal Coat. Additionally, this compact lens features ED and Aspherical lens elements for extreme sharpness while minimizing ghosting and flare.
Price and Availability
The new AF-S NIKKOR 24-70mm f/2.8E ED VR will be available in late August for a suggested retail price (SRP) of $2399.95***. The AF-S NIKKOR 200-500mm f/5.6E ED VR will be available in mid-September for the SRP $1399.95***. The new AF-S NIKKOR 24mm f/1.8G ED will be available in mid-September for the SRP of 749.95***. For more information on these new NIKKOR lenses as well as other Nikon products, please visit www.nikonusa.com.
About the NIKKOR Brand With a comprehensive assortment of FX and DX-format lenses and focal lengths, from the ultra-wide 10-24mm to the super telephoto 800mm VR, Nikon photographers have come to rely upon the NIKKOR core technologies that contribute to their optical superiority. NIKKOR is the brand name for Nikon’s photographic lenses, which are precision crafted to the most exacting standards in Nikon’s own glassworks. In 1933, Nikon marketed its first camera lens under the NIKKOR brand name, the “Aero-NIKKOR” for aerial photography applications. Since then, NIKKOR has been used as a brand name for Nikon’s lenses that symbolizes durability, high image quality and optical excellence.
About Nikon Nikon, At the Heart of the Image™. Nikon Inc. is a world leader in digital imaging, precision optics and photo imaging technology; globally recognized for setting new standards in product design and performance for an award-winning array of equipment that enables users to tell their stories through amazing photos and videos. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics as well as the Nikon 1 compact interchangeable lens camera system. Nikon Corporation, the parent company of Nikon Inc., recently announced the production of 95 million NIKKOR lenses in 2015, creating a new milestone in Nikon’s heritage of superior optics. For more information, dial (800) NIKON-US or visit http://www.nikonusa.com, which links all levels of photographers to the Web’s most comprehensive photo learning and sharing communities. Connect with Nikon and other photographers on Facebook, Google+, Twitter, YouTube, Instagram, Vimeo and Flickr.
Specifications, equipment and release dates are subject to change without any notice or obligation on the part of the manufacturer.
*Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.
**Compatible with TC-14E series teleconverters (AF is only available when used with DSLR cameras that offer f/8 support. These include: D4, D4S, Df, D600, D610, D750, D800, D800E, D810, D810A, D7100, D7200). Compatible with TC-17E and TC-20E series teleconverters (AF not possible).
***SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change
When photographing any scene, make a point to always photograph it from as many angles as possible. Working the scene is important, because you’ll never know which photograph looks the best until you get back to your computer.
On last week’s trip through the southern coast of Iceland, my co-leader Tim Vollmer stopped our photo van to photograph this beautiful mountain reflected in the pool of water. Our group took a few reflection photographs at the pond, then started looking around for different photographs in the adjacent field. We found a small cluster bell flowers in the field and used it as a foreground element in our landscape image.
The flowers provided an entirely different look than the reflection and greatly added to the diversity of images we created. It’s a lot easier to spend 10 more minutes at the scene while you on location than it is to try to recreate a photo once you get back home.
To work a scene, consider these options:
– high perspective
– low perspective
Just for fun, here are a few BTS (behind the scenes) pics of our group in action.