Featured Articles and Reviews

Nikon D800 / D800E for Wedding Photography

While I had talked about my plan to use the Nikon D800 / D800E for wedding photography on our site a few times before, I never had a chance to post … [Continue Reading]

Nikon D800E Sample (21)

How to Read MTF Charts

When my article on field curvature was published a while ago, where I talked about how one could do a quick analysis of lens MTF data and determine if … [Continue Reading]

How to Read MTF Charts

Nikon 50mm f/1.8G for Wedding Photography

As promised in my Nikon D800 for Wedding Photography article that I wrote a couple of days ago, I am continuing the series and this time with the … [Continue Reading]

Nikon 50mm f/1.8G Weddings (10)

Which Nikon Prime Lens to Buy First?

Buying a DSLR often means having several accessories to go with it, among which are lenses. But choosing your first lens isn't easy - there are so … [Continue Reading]

Which Nikon Prime Lens to Buy First?

Nikon 70-200mm f/4G VR Review

Nikon has a long history of making professional 70-80 to 200mm focal length zoom lenses, but aside from the very old 70-210 f/4 AI-S and AF lenses, it … [Continue Reading]

Nikon 70-200mm f/4G ED VR

Which Nikon DSLR to Buy First?

Even though quite a few of our readers are beginner photographers, we often talk about things that, while simple to us, are much more difficult to … [Continue Reading]

Which Nikon DSLR to Buy First

Look Through Your Window

I’ve always admired landscapes and portraits taken by much more talented photographers than myself. Looking at their work – take landscapes photographed by Nasim – I see a world completely different to my own. I see colorful forests and tall mountains inviting me, tempting me. It’s as if they’re saying – come. We look gorgeous from every angle. Come. We are the very bones of Earth. We have valleys and rivers, there are canyons and caves, meadows and snowy peaks to be found. Whatever the time of day, whatever the season or weather, we look gorgeous from every angle. Much unlike the nature around my home, you know. All I’d need to do is choose the one angle I like most. How wonderful would that be.

I had the honor once of traveling with a British professor on train. He saw me photograph passengers aboard and we engaged in a conversation. Halfway through it, he pulled out his beaten laptop and showed me lots of images from his travels all around the globe. He was no photographer, but the places he’s been to were so mesmerizing, I felt a sudden rush of sadness. Why is Lithuania so boring? I’ve seen portraits of exotic people. I’ve had friends travel and come back with breathtaking images from Thailand, Malaysia and Africa, and they always brought something back with them that made me envy their chance. Portraits of people so different from those around me – deep, true. Living. I’ve seen foggy eyes of old wise men, I’ve seen carefree laughter of youngsters out in the streets of Delhi. I’ve seen French lovers in embrace. Why are French so different from the rest of us? Why a simple market suddenly becomes so interesting, if it’s in Japan or Vietnam? Why are taxis so iconic in New York City and London underground trains so full of street photography opportunities? The answer would seem very simple, of course. It’s because they’re better places than where I am. It’s because they’re more interesting people than those around me. There are no exotic people in here, no foggy-eyed wise men, no French flamboyance and certainly, certainly no beautiful, breathtaking, colossal mountains to behold.

Wrong. So very, very wrong of me to ever say such a thing.

Look Through Your Window

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Which Nikon DSLR to Buy First?

Even though quite a few of our readers are beginner photographers, we often talk about things that, while simple to us, are much more difficult to understand for those with less experience and knowledge. That is why we strive to share our experience as someone shared theirs with us when we were just starting. The most difficult part for us is not the writing itself, however – mind you, we aren’t holding anything back. The most difficult part is becoming the beginner again so as to remember all the questions we had when we started. Make no mistake, we’ve had plenty of those. I, too, didn’t know what aperture and shutter speed was. I, too, had a hard time getting to know my gear in such a way I would be able to get quality results from it. I remember the painful transition from being a photography theoretician, an arm-chair expert, to one who uses his technical knowledge without thinking about it for the sake of photography, not comparisons and pixel-peeping. Thank goodness that part of my life didn’t last more than a few days. But before any of these questions came to my mind, I, too, had to make what seemed like the most difficult choice of all at the time. The first one, the one that gave way to all the other questions that followed and follow to this day. Where to start? Which camera to buy first?

Which Nikon DSLR to Buy First

Your first camera is not just a piece of equipment. It’s your entry into photography world. The “buy-the-most-expensive” logic doesn’t work here even if you have the means to do so. You have to get it right. Your first camera has to be “just enough”. It will either be too difficult, too heavy, too mind-boggling with all the functions, or too dull and alien. It may turn you to another system, or from photography altogether. Or it will fit you like a glove and lead you down the path of learning everything, and then learning, again, of what’s actually important. So, lets start from the start. In this “Which Nikon DSLR to Buy First?” article, I will introduce you to several Nikon DSLRs – you will not find the best camera here, as there isn’t such a thing. But, hopefully, you will find the best camera for you as a beginner photographer, one you are going to learn with and love for years to come.

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Winter Photography Tips

Winter can be a very beautiful time of the year, especially if you live in a region that gets plenty of snow. We all know how children love the snow – there are endless possibilities for having fun and cold weather is usually not enough to stop them from enjoying it. On one hand, winter poses a beautiful time of the year for photography, particularly landscapes and portraits, and can be equally refreshing for wildlife photographers. On the other hand, it creates certain problems that are hard to figure out for beginner photographers, let alone their cameras. In this article, I will give you tips on how to photograph in winter and end up with well exposed, beautiful color images. I will also provide you with suggestions on when to go out to photograph and how to use snow to your advantage.

Snowy Landscapes (6)

1) Plan Your Day

First and foremost, remember – days are much shorter during the winter. Sunrise is late, and sunset is early, so you only have a few hours of potentially beautiful light to capture those photographs, be it landscapes or portraits. I know from experience how engaging landscape photography can be during winter and those hours just fly by. Plan your day carefully – remember that you will need to revise your location no matter what you choose to photograph, so you’d better get there before the time of the day that you find most suitable. No less important is your safety. I’ve suffered from cold weather myself having stayed still in one place for too long. Bring some hot tea along with you, and some food, even if it’s just a sandwich. Dress warmly – it is better to be hot than cold. Make sure your mobile phone is fully charged – cold eats up those batteries very quickly. The same goes for your camera, bring at least one spare battery and keep it somewhere warm and close to your body.

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Think Tank Airport Commuter Review

Over the past few months I have had the opportunity to test and use the Airport Commuter backpack from Think Tank while taking it on trips as well as using it around town. In this review, I will look at the backpack in detail, go over its features and discuss how it has been serving my photography needs when I travel. As you may already know, I am a wildlife photographer, hence not many bags can accommodate my gear. I decided to get the Airport Commuter because it is one of the largest travel-safe backpacks offered by Think Tank, which can fit long, super telephoto lenses like 400mm f/2.8 or 500mm f/4.

Airport Commuter Backpack

1) General Information and Dimensions

1.1) Features

  1. Meets International and USA domestic airlines’ carry-on size requirements (check with your airline to confirm before traveling)
  2. Cable lock & locking YKK zipper sliders for added security
  3. Holds your laptop and iPad in a separate (lockable) zippered compartment
  4. Includes tripod/monopod mounting system
  5. Bottom hinge opens bag completely for quick and unencumbered access
  6. Light, comfortable and contoured harness system
  7. Top zippered pocket for boarding pass
  8. Removable waist belt for additional stability when walking, running, etc.
  9. Adapts to Pro Speed Belt for additional support
  10. Water bottle pocket
  11. Ultra-Stretch pockets on shoulder straps
  12. Robust handles on three sides
  13. Easily accessible front organizer pocket
  14. Seam sealed rain cover included
  15. YKK RC-Fuse zipper and highest quality materials throughout

1.2) Dimensions:

  1. External Dimensions: 12.5” W x 18.” H x 8.5” D (31.6 × 45.7 × 21.6cm)

  2. Internal Dimensions: 11.5” W x 16.3” H x 6.8” D (29.2 × 42.4 × 17.3cm)

  3. Laptop: 11” W x 16” H x 1.3” D (27 × 40 × 3.5cm)

  4. Weight: 3.5-4.2lbs (1.5-1.9kg)

1.3) What’s in the Bag?

Here is a photo of a partially loaded Think Tank Airport Commuter bag:
Packed Airport Commuter Bag with D4 and 300

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Mastering Lightroom: How to Use External Editors

In every Mastering Lightroom series article, I mention certain strengths of this, in my opinion, superb piece of software. Only every now and then do I find something small to complain about, as I have in my “How to Manage Presets” article. I strongly believe Lightroom offers more or less everything needed to process a well captured image and offers plenty of powerful yet simple photographic tools. However, as our readers have wisely noticed in the comments section of my “How to Use the Spot Removal Tool” article, on rare occasions these tools may not be powerful enough. Here comes another strength of my favorite photo processing application – flexibility. You can use other programs to do what Lightroom can’t, and then go back with the processed image to its familiar and simple environment. In this Mastering Lightroom series article, I will show you how to use external editors with examples provided using the most popular and capable you can buy – Adobe’s own Photoshop.

How to Use External Editors

1) What Software can be Used with Lightroom 4?

A good question, this. As of late, I’ve found my photography changed in such a way I rarely, if ever, need to use something other than Adobe Photoshop Lightroom 4, but if such an occasion does present itself, I know I have enough choice. First and foremost, Lightroom supports the all-powerful Photoshop, which itself is likely enough to satisfy your every need when editing images. If Photoshop alone is not enough, remember the huge library of amazing specialized plug-ins you can find for it, including Google’s very capable Nik Software and the (rightly) popular Topaz Labs products (which we have plans to review). In other words, you may use Photoshop and, through it, all the plug-ins you can find and purchase or download as freeware.

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Mastering Lightroom: How to Add Film Grain

With mainstream days of film long gone, one would expect all the disadvantages it had on offer to be rid of for all times, as well. Digital is all about clean, high quality images now. Contrary to such an assumption, however, film has not left our everyday lives without a trace. A trace that is even more noticeable now that photographers got used to the differences between the two “religions”. Now, I say “got used to”, but the truth is plenty of photographers got bored of the sterile digital look and thus would seek ways of livening it up (instagramed anything lately?). One notable featured of photographic film has always been grain. Although, like high ISO noise in digital world, it was a result of increased light sensitivity and as such, an undesirable degradation of image quality, film grain was loved even during the past era of photography. Reasons behind it would make a fine discussion – in short I would say that grain was simply organic and beautiful – but one to be had with a pint of beer in hand and complimented by laughter and warm fire light. Instead, we will concentrate on actually applying film grain, or what is closest to it, with digital photographs. In this Mastering Lightroom series article, I will explain how to add film grain to your images. You will learn how to increase the size of grain, make it rougher or smoother and also hide high ISO noise (or make it more appealing) with it without the need of applying noise reduction.

How to Add Film Grain

1) What is Film Grain?

In essence, it is the chemical equivalent of digital high ISO noise, or, rather, the other way around. As film sensitivity went up, the amount and character of grain increased, just as ISO noise levels increase as you push sensor sensitivity to light up. Noticeably, film grain became visible at much lower sensitivities than current digital noise. Certain film of 400 ASA/ISO would already show visible graininess, and producing fine-grain film of 400 value was no small feat. Understandably, there weren’t any ISO 12800 equivalent films. One of the most sensitive films, the wonderful B&W Ilford Delta 3200, rendered so much grain, it would be thought quite unusable by some all-modern, technical quality junkies of digital era who have never been familiar with film aesthetics. Some prefer to see Delta 3200 as 1600 film pushed one stop during development. Think underexposing an image and correcting exposure by one stop in Lightroom with Exposure slider.

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Nikon 70-200mm f/4G vs f/2.8G

In this article, I will do a comparison between the new Nikon 70-200mm f/4G VR and its bigger brother, the 70-200mm f/2.8G VR II. This comparison is expanded even further in my Nikon 70-200mm f/4G VR review. I have been using both lenses for the past month, along with two other similar lenses from Tamron and Sigma, so the review will include direct comparisons between all four lenses, along with bokeh and other lens feature comparisons. Let’s take a look at the detailed lens specifications, along with a side by side comparison to the Nikon 70-200mm f/2.8G VR II:

Lens Specifications and Comparison to Nikon 70-200mm f/2.8G VR II

FeatureNikon 70-200mm f/4G VRNikon 70-200mm f/2.8G VR II
Mount TypeNikon F-BayonetNikon F-Bayonet
Focal Length Range70-200mm70-200mm
Zoom Ratio2.9x2.9x
Maximum Aperturef/4f/2.8
Minimum Aperturef/32f/22
FormatFX/35mmFX/35mm
Maximum Angle of View (DX-format)22°50′22°50′
Minimum Angle of View (DX-format)
Maximum Angle of View (FX-format)34°20′34°20′
Minimum Angle of View (FX-format)12°20′12°20′
Maximum Reproduction Ratio0.274x0.12x
Lens Elements2021
Lens Groups1416
Compatible Format(s)FX, DX, 35mm FilmFX, DX, 35mm Film
VR (Vibration Reduction)YesYes
VR Technology3rd Generation2nd Generation
Diaphragm Blades99
Distance InformationYesYes
Nano Crystal CoatYesYes
ED Glass Elements37
Super Integrated CoatingYesYes
AutofocusYesYes
AF-S (Silent Wave Motor)YesYes
Internal FocusingYesYes
Minimum Focus Distance3.28 ft.4.6 ft.
Focus ModeAuto, Manual, Auto/ManualAuto, Manual, Auto/Manual
G-typeYesYes
Filter Size67mm77mm
Accepts Filter TypeScrew-onScrew-on
Dimensions3.1×7.0 in. (Diameter x Length), 78.0×178.5mm (Diameter x Length)3.4×8.1 in. (Diameter x Length), 87×205.5mm (Diameter x Length)
Weight30.0 oz. (850g)54.3 oz. (1540g)
Supplied AccessoriesLC-67 Snap-on Front Lens Cap 67mm, HB-60 Bayonet Hood, LF-4 Rear Lens Cap, CL-1225 Semi-Soft CaseHB-48 Bayonnet Hood, CL-M2 Case, 77mm lens cap, LF-1 Rear lens cap

There are a couple of differences worth noting here. While the Nikon 70-200mm f/4G has a maximum aperture of f/4, its minimum aperture is also smaller at f/32 (versus f/22 on the 70-200mm f/2.8G). Next, it obviously has a simpler optical design with 20 elements in 14 groups, while the 70-200mm f/2.8G has 21 elements in 16 groups. The new Nikon 70-200mm f/4G VR also comes with a brand new, third generation Vibration Reduction (VR) technology, which Nikon claims can provide up to 5 stops of image stabilization. This is interesting, because while the new 70-200mm f/4 lens is one stop slower than the 70-200mm f/2.8, in some situations it regains the light loss with better VR control. After playing with the lens for sometime, I must admit that the VR on the 70-200mm f/4 is in fact better. I am sure Nikon will be using this new VR system in all future lenses, because it really works. The number of ED elements in the 70-200mm f/4G lens design is fewer: 3 versus 7 on the 70-200mm f/2.8G. A big advantage, in my opinion for the 70-200mm f/4G is its closer focusing distance of 3.28 ft versus 4.6 ft on the f/2.8G version. Because the barrel size is smaller, the filter size is also smaller – 67mm versus 77mm. And lastly, it is a smaller and significantly cheaper lens. But what about everything else? Looks like the rest of the features are pretty much exactly the same. Both lenses have a 9 blade diaphragm, both are coated with Nano Coated glass, both have Super Integrated Coating, AF-S motor and Internal Focusing.

MTF and Sharpness

Thanks to all these optical features, the Nikon 70-200mm f/4G VR performs extremely well compared to the f/2.8 version. Take a look at the MTF chart of the 70-200mm f/4G compared to the MTF chart of the 70-200mm f/2.8G at 70mm (wide):

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Mastering Lightroom: How to Tether Your Camera

Lightroom is a very flexible image management and processing software, but apart from powerful tools and settings to enhance your photographs, it also offers features that help you during the actual process of photographing. Have you ever felt that, even with the constant resolution and physical size growth, camera LCD screens just aren’t big enough for comfortable image viewing in the field? Luckily, Lightroom offers a way to import photographs and review them as you shoot. This function, called Tethered Capture, is especially useful for studio photographers who don’t tend to move about too much. It can be equally useful for landscape photographers, too. In this Mastering Lightroom series article, I will explain how to tether your camera. This allows you to import images directly into the Lightroom 4 environment for quick and comfortable revision as you photograph.

How to Use Tethered Capture

1) When Should I Use It?

The best time to use Tethered Capture is when working in a less active environment. For example, studio and landscape photographers, who tend to bring their laptop computers along on a shoot, will find it to be very simple and fuss-less. However, wedding photographers, who tend to move all the time and change their shooting position, would find Tethered Capture to be annoying at the very least. Who’d want to photograph a wedding with a USB cable strapped to the camera constantly, and through it, a laptop? You’d need an assistant just to have that laptop lugged around behind you! In many other situations, Tethered Capture can make reviewing images that much more pleasant.

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Sony SLT-A77 and NEX-7 Instant Savings

Two highly regarded Sony cameras have received generous instant savings at B&H, our most trusted reseller. Both SLT-A77 and NEX-7 mirrorless camera offer great 24 megapixel APS-C sensors, durable magnesium alloy bodies and extensive manual control with lots of professional features, and are of the most desired cameras among Sony users.

Traditionally, Sony offer a lot of bang for your buck (a strategy to counter photographic pedigree of its fierce competition). Now, with instant saving, they are even cheaper, especially compared to competition. We were very impressed with the A77 (click here to read our review) and although NEX-7 has not yet been reviewed, it’s baby brother, the NEX-6, left Nasim with positive feelings as well (click here to read our reaview of the NEX-6).

Sony Alpha A77
Sony NEX-7

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Anatomy Of A Winning Ad – “So God Made A Farmer…”

These words summarized what was arguably the best commercial of the 47th Super Bowl between the Ravens and 49ers. I was not surprised that this Dodge Ram Truck commercial rose to the top of the pack, since I have been a long-time fan of the man whose touching words graced the 2 minute ad – Paul Harvey. The most intriguing aspect of this ad was that it was as low-tech as it gets. No fancy computer graphics. No matinee idols. No pop culture icons. No questionable language. No massive creative ad budget. It was merely the legendary voice of Paul Harvey, who passed away in 2009 at the age of 90, reciting a 35 year old text… and a series of touching photographs. Let’s take a look at the elements of this great ad and understand why it proved to be so appealing to so many – even lifelong inhabitants of big cities whose only experience with farms has been watching them on TV.

Photo From Dodge Ram Commercial
Image Credit – Chrysler Dodge

The Power To Move People – The Messenger

Based on my recent article regarding Looklet’s LookCreator software replacing photographers and models in the clothing catalog arena, some of you may have thought that I was ceding the world of photography to high end computer graphics. Nothing could be further from the truth. I still believe that a photograph can have profound impacts and change people’s minds and hearts, and in some cases, their wallets as well.

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