A Visit to Greenbrier in the Smoky Mountains

I have a great fondness for taking pictures in the Smoky Mountains. As far back as I can remember I've been running around the Smokies with my Nikon camera and tripod. Recently, I set out to find a place in the Smokies that I'd never seen. One place that was new to me is Greenbrier, near Gatlinburg.

I've seen all the standard Smoky Mountain sights like Cades Cove and Tremont, and have thousands of pictures to prove it. In the last year or two I've been leaving the Smokies to photograph other areas like the Blue Ridge Parkway and Cherohala Skyway. I took a lot of great pictures in those places but soon felt a hankering to return to "my" mountains, the Great Smokies.



I had never been to Greenbrier since you access it via the Gatlinburg area. Gatlinburg is a great place, but not conducive to taking many nature pictures. Due to the heavy tourist traffic, I generally avoid the area, except for a trip to Roaring Fork Motor Nature Trail from time-to-time.

A friend of mine and I took a drive to Greenbrier to see what sights might await us. I'd been to Tremont in the Smokies quite often, and didn't think a similar place—like Greenbrier—would hold a great deal of interest for me. I was wrong! Not only does Greenbrier offer a beautiful view of the Little Pigeon River cascading down from the mountains, it also offers picnic areas with covered pavilions for groups. I'll take my family back to cook a few hotdogs and burgers while enjoying the sounds and sights of the Greenbrier area.

The Little Pigeon is a famous whitewater river that provides world-class scenic views. As you drive along Greenbrier's gravel road you can watch the scenic river flow outside your left window. It's easy to stop and get a photo or two without ever leaving your car. However, it's much nicer to stop at some of the most impressive waterfalls and climb down the shallow bank to the river's edge. There you can experience the mist and roar of the river first hand. You can close your eyes, listen to the sound and imagine a time up to 1000 years ago, when the Cherokee Indians lived and hunted in this area.

Next time you come to the Smokies, why not set your GPS to Greenbrier (Lat: N 35° 44.330' — Long: W 83° 24.994') and drive to a peaceful and lovely area for some good times with your family and friends. 

By the way, I took these images with my Nikon D2x and D5000.

Keep on capturing time...
Darrell Young

Do Camera Settings Affect RAW (NEF) Files?

This article is an excerpt from my upcoming book, Mastering the Nikon D7000, due out in spring 2011.

Interestingly, a RAW file is not yet an image. It is only "raw" black-and-white information from the camera's sensor, separate color information, and markers for how the camera settings were configured when you took the picture.

When you display a RAW image on your computer in a program like Nikon Capture or View NX2, you are seeing the image displayed with the settings you used at the time you took the picture. However, since a RAW file is not yet an image, none of the settings are permanently applied until you save it as a JPEG or another format.

Proof of this is how easily you can modify the RAW file with a change of settings in the computer software you are using. If you shot it with Cloudy White Balance, you can change it to Shady White Balance and it will be exactly the same as if you shot it originally in Shady instead of Cloudy. If you used the Neutral Picture Control and decide you'd rather use the Vivid Picture Control, change it in the Nikon software and it will be as if you had shot with Vivid in the first place—after you save the image as a different format. You can even save the RAW file with your new settings, but they are still not applied permanently to the image, they are just saved as new markers for later display in-computer.

Since a RAW file does not become an image until it is saved as another format, you can play with it, modify it, or change it as much as you like, and the final result will be as if you used the new settings when you first took the picture.

RAW shooters have learned that RAW (NEF) files are completely flexible and changeable after the fact. Do not worry about what settings you have used on a RAW file, you can change it later. The important thing with RAW files is that you get a correct exposure. That's one thing that cannot be changed after the fact without damaging the appearance of the image. Learn to use your histogram to validate the exposure. Make sure you have correct settings for depth of field (aperture) and motion control (shutter speed), then shoot with abandon as to settings. You can change it all later and it will be as if you used the new settings when you took the picture originally.

No RAW file exists as an image until you save it as a JPEG, TIFF, or other format. Things like noise reduction, white balance, Picture Controls, sharpening, and contrast are applied permanently only at the time the RAW file is saved as something besides a RAW file. RAW files stay raw; that's why RAW (NEF) makes such good storage format and so many experienced photographers shoot with it.

Keep on capturing time...
Darrell Young

Tamron® SP AF17-50mm F/2.8 XR Di-II VC LD Aspherical (IF) Review

Do you entertain yourself by reading lens reviews and spend hours on eBay looking for the ultimate lens?  Do you have the desire to own every lens ever made?  Does your camera bag weigh more than you do?  Then you may be a good candidate to read this article.

Collecting lenses can be like collecting used Boeing 747 airplanes. They're just plain expensive!  Yet life is best when our camera bags are heavy with glass.  We may not need them today, but they’re there when we do.

Since most of us have lens buying habits approaching national debt levels—it’s a good idea to save money—as long as quality isn’t compromised. Nikkors® have been my choice for most of my photographic life—and will continue to be. Recently, though, several aftermarket lens manufacturers have released very desirable lenses that cost significantly less.  Less is better when it comes to cost!

FIG 1A - Tamron® SP AF17-50mm F/2.8 Lens on a Nikon D300

One of my favorites is the Tamron® SP AF 17-50mm F/2.8 XR Di-II VC LD Aspherical (IF). Although the name is longer than the lens itself, it performs—in certain ways—even better than some of my beloved Nikkors.

The Tamron “SP” designation marks their best lenses with resulting excellence in glass and build quality.

It only costs about $650 USD, which is very reasonable for this level of lens quality and capability. A comparable Nikon-brand lens, such as the AF-S Nikkor 17-55mm F2.8 can cost over twice as much. Of course, the Nikkor lens has a stronger metal build and you pay for that.  The Tamron lens barrel is made of “high-impact” polycarbonate so it can be lighter yet still maintain excellent strength for daily use.

Let me tell you about my experiences with this lens.

Not long after the newest version of the lens was released, I was given an opportunity by Nikonians.org and Tamron to use one for a few weeks.  For most of December 2009, this lens was on my Nikon D300s.  I used it as the “portrait” lens while shooting a wedding’s formal groups shots and as a “save my buns” lens when shooting the reception lit by white Christmas tree lights.  Do you know how hard it is for a camera to focus on people dancing by candlelight.  The Tamron’s wide F2.8 constant aperture was a big help. 

Tamron Vibration Compensation (VC) 

The Tamron vibration compensation—called VC—is simply amazing.  Unlike Nikkor’s two-axis vibration reduction (VR), the Tamron has three-axis vibration compensation.  How does VC work?  Well, imagine the difference between a big plus sign “+” and a big “x” letter.  The Nikkor VR system stops vibration in an up/down and left/right direction, like the plus sign.  Tamron VC adds vibration compensation on diagonal movements, like an X.

In other words, not only does it match the Nikkor’s up/down and left/right capability but it also adds diagonal compensation.  Imagine placing an x on top of a + sign, and you’ll see how the VC system can handle camera movements in more directions, up/down, left/right, and diagonally. For this reason, the Tamron does not have a Normal/Active switch, like the newer Nikkor VR lenses.  It handles the other angles automatically and doesn’t need one.

FIG 1B - Tamron® SP AF17-50mm F/2.8 VC Lens

Here’s some rather interesting vibration compensation information provided by Tamron's, technical representative Rob Moody:

“Other two-coil systems on the market have to compensate for diagonal movement by triangulating or computing through the body. This is what produces the floating or drifting effect you experience when the stabilization is engaged in other manufacturers lenses. The new three-coil system eliminates this process by using an addition or third coil to compensate for diagonal movement.”

When I’ve depended on VR while using my Nikkors—such as when a tripod is not feasible—I’ve always allowed a second to let the VR “take hold” before taking the picture.  Otherwise background objects can have a weird repeating blur when the VR is not fully locked and the picture is taken.  If you’ve used VR for any length of time, you may know what I mean.  Things on the edges of the image can look really weird, like a failed Photoshop clone effect, even while the subject is sharp.  I attribute this to the VR system not fully acquiring “lockdown,” in a sense, before the shutter is released.

Using the Tamron’s VC system, I didn’t notice this effect at all.  It seemed that the VC was faster at locking down the image.  This is only my opinion, you may find differently.  However, after using Nikkor VR from its earliest versions to the best VR II available today, I’ve grown accustomed to how it works.  The Tamron seems to acquire the subject faster and locks down tighter.

In my opinion, this VC feature alone makes the lens worth the cost.  I handheld this lens in conditions that would make a less competent lens shudder—literally. 

Formal Portrait Work 

I used the Tamron during the formal portrait session in a wedding where I was limited to only two flash units, an SB-800 and a SB-900, with an SU-800 controller and Nikon CLS.  By necessity everything was mostly direct flash.  In FIG 2A, I used one SB-900 with its stock diffuser dome pointing somewhat toward the ceiling, on a Nikon D300s, and was working to control contrast as best I could.

FIG 2A - Bride in front of pastel painting

Within the limitations of this direct-flash portrait, I think the D300s/SB-900/Tamron combination performed quite well.  No forehead or cheek hotspots, only minor shadows, and all detail in whites maintained. The Tamron provided accurate tonal and distance information to my camera and flash, so that exposing the image was effortless.

In FIG 2B, an SB-900 was pointed directly at the group, while a SB-800 was bounced off the white ceiling.  My D300s and SU-800 commander unit, along with the Tamron lens were controlling the exposure.  The combo worked well. 

I’m always afraid to use a new piece of equipment during a wedding, so I was quite wary. However, since this was a digital wedding, I could see any serious problems on the camera’s monitor. I went ahead and used the lens.  From the results seen in FIG 2A and 2B, you can tell that I don’t regret it.

FIG 2B - Bride and bridesmaids

I shot over 100 formal group portraits, with up to 21 people in them, during this wedding. Not a single image was incorrectly focused or badly exposed.  Great lens performance. 

Low Light Performance

During the reception of the wedding, all main lights were turned off, and everyone was dancing to strung-up white Christmas tree lights.  The Tamron was able to acquire focus even under that very low light setting, with the assistance of the SB-900’s infrared beam, of course.  I tried shooting these dark images with my AF-S Nikkor 16-85mm, but could not seem to get good autofocus.  I quickly switched to the Tamron, with its constant F/2.8 aperture and that did the trick.  However, the proof in the pudding is whether or not the full combination of camera, flash, and lens can provide accurate exposure under very difficult conditions.

FIG 2C - Bride and Groom

FIG 3 shows an example of the type of image I was able to capture shooting basically in the dark.  In the background of the image you can see the tiny lights that were used to provide a romantic atmosphere for the dancing.  The bride and groom were dancing and spinning, while I was doing my best to capture them for posterity.  The lens, once again, gave the camera and flash correct information for balanced exposure, with no blowout of whites or skin tones.  The lens/camera/flash let the darks suffer, and kept the bride and groom exposed well.  That’s awfully hard to do.

Of course, in an image with this level of darkness, you expect to see some shadows go fully black, but the important bits were exposed correctly, and the image’s histogram just touched the highlight side of the histogram window.  Under these conditions, that’s quite admirable performance from the combination.  The Tamron can be trusted to deliver.

Now, let’s look at some technical information for this fine lens.

Technical Information  (for Model B005)

The Tamron® SP AF17-50mm F/2.8 XR Di-II VC LD Aspherical (IF) lens is designed for use on a Nikon having a DX imaging sensor.  It does not provide a large enough image circle to cover the size of an FX sensor, so it won’t work on a D700 or D3s/x.  It’ll work fine on all DX models from the Nikon D40 to D300s.  Here is an acronym list explaining what all the symbols applying to this lens mean:

Acronyms for Tamron® SP AF17-50mm F/2.8 XR Di-II VC LD Aspherical (IF) (Model B005)

• SP = Super Performance.  Tamron’s best lenses.
• AF = Autofocus
• XR = Extra Refractive Index.  Allows smaller lens diameter due to stronger refraction in front elements.
• Di-II = Digitally Integrated.  Designed for DX sensors (APS-C or 24x16mm).
• VC = Vibration Compensation.  Reduces handheld vibrations in three planes.
• LD = Low Dispersion.  Lens contains one or more elements that achieve apochromatic performance.
• IF = Internal Focusing.  The length of the lens does not change during focus.
• BIM = Built-in Motor.  Will work on smaller Nikons with no in-body lens AF motor.

As mentioned in the acronym list, the newest version of this lens (model B005) has a built-in autofocus motor (BIM), so it will work on the smaller Nikon bodies like the D40, D60, D3000, or D5000.

Lens Sharpness

I read a review at PopPhoto.com about this lens, and they were rating it as having comparable sharpness from F/2.8 to F/11.  I had a hard time believing this until I shot the images in FIG 4.  I cut these sample segments out from an area between the middle and edge of the images.

FIG 4 - Testing for lens sharpness

 I can honestly state that the lens performs nearly as well wide open as at any aperture down to F/11.  The reason I say nearly, is that I note some mild edge softness and slight light falloff in the corners at F/2.8.  It’s gone by F/4.  That’s to be expected in most all lenses.

The absolute best sharpness is found at F/8 to F/11, but is entirely usable across all apertures.  If you look closely at FIG 4, you’ll see a lessening in sharpness at F/16 as diffraction starts to take its toll.  However, I would feel comfortable using this lens at any aperture.  This is a sharp one, for sure! 

Lens Distortion

To test for distortion I shot against a concrete brick wall at various apertures.  I tried to walk closer or farther away to keep the blocks somewhat close to the same size, so that they’re easier to compare.

FIG 5 - Testing for lens distortion

I note some barrel distortion at 17mm, but by 24mm it seems to be gone.  Since the focal range on this lens is so short, it is easier to control for distortion.  I really can’t see any distortion between 24mm and 50mm. 

Lens Flare

What’s the worst case scenario for a lens?  To be pointed directly into the sun.  I gave this lens the acid test by standing in the superstore parking lot and including the sun in the image (see FIG 6).

FIG 6 - Testing for lens flare and contrast

As expected you can see the teardrop shaped rainbow effect chromatic flare in the lower right corner.  In fact, if you look closely the greenish flare extends all the way from the left bottom corner to the sun.  However, I’ve seen few lenses that don’t give you this effect, and it’s even added in movies sometimes since we are all so used to seeing it. The nice thing about this lens is that it maintained high contrast in the rest of the image. There is no milky effect that lowers the contrast of the entire image. The only areas affected by the sun are the actual flare reflections. The rest of the image is still high contrast and sharp.

I would consider this good reflection control and shows that the lens has good quality coatings on its elements.  Otherwise, an image with the sun in it would be very low contrast as the light bounces around between the elements. 

Light Falloff

I was impressed with this lens’ minimal light falloff.  I use a Nikkor 16-85mm and battle relatively worse light falloff.  There is some light falloff at maximum aperture and shortest focal length (see FIG 7).

FIG 7 - Testing for light fallof

F/2.8 shows falloff it in the corners, but it is mostly gone by F/4. The only time I could really detect light falloff was at 17mm and F/2.8 and F/4. At any other focal length besides 17mm I could not detect any significant light falloff. There was just a tiny bit at 24mm and F/2.8. What you see in FIG 7 is “worst case scenario” in my opinion. This lens does not have serious light falloff problems, and what it does have is easily corrected in software. 

Chromatic Aberration

To test for Chromatic Aberration (CA) with the Nikon D300s is a little more difficult than with some cameras.  The D300s automatically removes CA when creating a JPEG.  So, I shot this backlit tree on the left in FIG 8 in RAW instead, and processed it through Nikon Capture NX2 with “Lateral Chromatic Aberration” correction turned off.

FIG 8 - Testing for lens chromatic aberration (CA)

The results were what I would call excellent. In FIG 8 you can see the red opaque area of the big image represented at 100% on the right. Even at 500% I could not detect significant amounts of CA. This is a worst case scenario, too.  Backlit tree limbs will show CA when it is present, in my experience.  Can you see any?  I can’t! 

Sample Images from Tamron

Now let’s look at three larger sample images.  One of them I took in Knoxville Tennessee at the colorful front of a bankrupt Circuit City store.  The other two were provided by Tamron, since I did not have the lens during a colorful season (December) and couldn’t get any beauty-in-nature shots.  The two nature shots were taken by Tamron technical representative Rob Moody personally.  He was using his Nikon D700 in DX mode (5.5mp).

FIG 9 – Architectural Example – Nikon D300s, Tamron 17-50mm F/2.8 VC, 1/250s at F/9, ISO 100 - © Darrell Young

FIG 10 – Loch Raven – Nikon D700 (DX Mode), Tamron 17-50mm F/2.8 VC, 1/800s at F/5.6, ISO 500 - © Rob Moody

FIG 11 – Reflection – Nikon D700 (DX Mode), Tamron 17-50mm F/2.8 VC, 1/80s at F/6.3, ISO 200 - © Rob Moody

Some Basic Lens Facts

• The lens uses a normal non-ultrasonic autofocus motor, but the focus is fast and quiet.  I had no AF seeking issues, even in an extremely dark environment.
• The end of the lens does not rotate during autofocus, so you can use your polarizer without difficulty.
• The maximum aperture is a constant F/2.8 all through the zoom range.
• It has 14 groups with a total of 19 elements.
• It’s angle of view is 78°45’ to 31°11’ (APS-C equivalent)
• It has 7 aperture blades for a nearly circular opening
• The minimum aperture is F/32
• The minimum focusing distant is 11.4 inches (0.29m)
• The maximum macro magnification is 1:4.8
• Its filter diameter is 72mm
• The lens weighs 20.15 ounces (570g)
• It is 3.13 inches (76.5mm) in diameter and 3.7 inches (94mm) long.
• It comes with a 72mm flower-shaped lens hood
• It has a 6-year limited warranty in the USA
• Earlier versions of this lens have won EISA’s Best Product Award, American Photo’s Editor’s Choice Award, and Professional Photographer’s HOT ONE Winner award.

A Look at this Lens
Here are a few images of the lens from different angles.  This is one good looking lens; don’t you agree?  It takes pictures even better than it looks!

FIG 12 – Tamron 17-50mm F/2.8 VC various views

My Conclusions

I would feel confident using this lens in almost any situation.  It feels strong and robust, with a design and warranty showing that it’s made for many years of usage.  While not up to the heavy standard of a metal Nikkor lens, it doesn’t cost nearly as much either.  For a photographer that needs a good solid high-performance lens, but has to maintain a budget, this lens performs extremely well.

I love the constant F/2.8 maximum aperture.  This lets me use the lens to isolate my subjects with shallow depth of field when wide open, and have plenty of depth when stopped down.  It’s surprisingly sharp wide open.  The specs I’ve read on other more technical reviews show very similar sharpness results from F/2.8 to F/11, and some minor sharpness loss due to defraction between F/16 and F/32.  Quite an impressive lens!  It’s highly corrected and acceptable wide open, which is unusual in a lens of this price range.

I read a review of an earlier version of this lens on Popular Photography’s website, and they claimed that it optically outperforms the Nikkor 17-55mm F/2.8 lens.  I can tell you that the images I shot with it are very sharp and have excellent color contrast.  It is a great normal lens for general use on a camera like the Nikon D5000, D90, or D300s.

With the Tamron 17-50mm F/2.8 VC, other photographers will wonder how you took such sharp images.  Pro quality images at a reasonable lens price! 

Keep on capturing time …
Darrell Young

Nikon D300s vs. Nikon D90 - Noise at 6400 ISO

I have been reading various opinions on the internet where people are claiming that the Nikon D90 has better looking images at high-ISO sensitivity settings than the Nikon D300s. It made me curious! So, being the extremely humble and modest fellow that I am, I thought I might offer my opinion. :-)

Since some may just be picking up cameras and firing—without thinking much about settings— and then making comparisons of their images on the LCD monitor, I tried to do the opposite. I sat down with my new D300s and my sweet wife's D90, and did a carefully controlled test of the two cameras at identical settings, and with the same AF-S Nikkor 16-85mm F3.5-5.6G VR lens.

Here is a direct "JPEG fine" comparison, with no retouching. Personally, I feel that the D300s image is superior by a slim margin. Make your own choice as to which performed better by examining the images for yourself:

Both images are:

• 100% cutouts at about 840 pixels wide (see link for full size)
  
• JPEG fine (camera processed)
• 6400 ISO (Hi 1)
• 1/60s @ F8
• 85mm (AF-S Nikkor 16-85mm)
• High ISO NR at NORM
• NL Picture Control at default settings
• Direct flash from the popup speedlight
• WB AUTO
• Active D-Lighting LOW

Click here to see image below in larger format for comparion

Looking at both of the originals carefully I have determined that the Nikon D300s is sharper, has less noise, and slightly less contrast. The D90 has significantly more color noise. Both cameras performed in an amazing way at this high level of ISO sensitivity. The sharpness on both is excellent.

I feel that the D300s beat the D90 by a slim margin in overall noise, but by a larger margin in color noise. There is no way I can display the original image I see on my screen, even though I am saving this at Level 12 in Photoshop. The re-compressed image is much worse looking than the original, which teaches me that resaving a JPEG even once seriously lowers the quality of the image.

Both of these cameras performed at levels that surprised me. I normally never raise my camera's ISO sensitivity above 200, much less to 6400. However, I may just start venturing into higher ISO territory now. Technology seems to be catching up with our needs for excellent digital imagery.

Keep on capturing time ...
Darrell Young

Markins M10 Professional Tripod Ballhead Review

A ball head is a ball head -- right? I used to think so! I've always had the attitude that it really doesn't matter what ball head you use, since all it does is clamp the camera in the position you want. I figured any ball head that was big enough to handle the weight was good and all that really matters is the price.  Well, I come before you today with a different attitude. As the old song says, “I've seen the light!” Until I actually used a pro-level ball head I simply didn't know what I was missing. I'm just glad I never wrote any articles about less-than-professional ball heads because I'd have to take them back.
Let me tell you how I came to this conclusion. Back in 2006 I was enjoying a nice photographic day in the Great Smoky Mountains. A couple of Nikonians and I were running around the Smokies bringing home lots of great early summer images. I stopped at a nice overlook on the Foothills Parkway West and got a few shots. I realized that the heavy workload of taking images had made me hungry so we stopped to consume a few sandwiches. I leaned my Bogen® 3021B Pro tripod with its massive 488RC2 ball head up against the back of my Jeep while we ate. That's the last I ever saw of it!  Somehow, when we got in the Jeep and headed down the road, my tripod was no longer with me. Whether it was stolen or simply left behind, I cannot tell. We drove to a different part of the Smokies before I got out to take another shot and discovered that my dear tripod was gone. Back we went in search of it, but, no joy. I had no tripod, in the middle of the day, in the most beautiful spot on earth.  Somehow I got through the day, and on the way back home I stopped at the local super-store and bought for myself a deluxe, crank-the-handle-for-maximum-height, $29.00 USD genuine plastic and metal tripod. I was set for the next trip! That evening, I was sitting at home feeling particularly sorry for myself for losing my $250.00 USD tripod and ball head. I was Skyping with a certain famous Señior Palacios of Nikonians.org about my tragedy and he was very sympathetic. In fact, he told me he was going to send me a nice Markins M10 Ball head to test, and that we could make arrangements later about purchase if I liked it. Since I was currently almost tripod-less (still had the plastic and metal crank unit), I agreed that it was probably a good idea. A few days later the UPS man drove into my driveway with a box from a certain Nikonians Pro Shop. Within a short period of time, my photographic life changed.  I opened that small box expecting “just another ball head” only to find that I had never truly ever seen a real ball head before. Every ball head I had used before that moment paled into insignificance. I had never spent over $100 USD for a ball head and had no idea what a few more dollars would bring to my photographic life. The first thing I noticed was the highly refined finish on the ball head. “This Markins M10 is clearly made to last,” I thought. Looking it over, I saw a thing or two that I had never seen before, and other things that were simply better than anything I had ever seen before.  I am now going to attempt to express my enthusiasm for this Markins M-Series Q-Ball head. I'll discuss the various features I found important and tell you how I used the head during Nikonians ANPAT 2006 to bring home some of the best images of my life.  I'll use a Markins M10 ball head as a reference point in this article, but remember that the Markins M20 is also available for a few extra dollars. It does everything the M10 does, plus allows monster telephoto lenses. Look, Feel, Weight, and Support  The Markins M10 is a smaller ball head than you would expect. It is no weakling however. In fact, for its size it supports more weight than many other heads in its class. The smaller size means that your very light carbon-fiber tripod will not feel top heavy like with some of the other big fat heads that support less weight.  The Markins has a unique patented “bi-axial locking mechanism” that allows it to be smaller and lighter, yet support more weight. In fact, the weight to load ratio is 80:1, which means the Markins will support eighty times more weight than it itself weighs. The M10/20 uses the industry standard Arca Swiss style dove-tail plates, so you'll never have problems finding extra plates for them. I bought four Markins plates for my M10; one for the D2X, D200, D300S and my larger Nikkor 80-400mm lens.  You'll want to get a plate for each camera body and any lenses with collars, since they're designed to attach semi-permanently.  Other tripod heads I've used in the past were simply too tall. Some of the squeeze type heads can be so tall that you can't fully extend the legs of the tripod and still look through the camera viewfinder. The Markins M10 is not overly tall at 3.9 inches (98mm). I am slightly less than six feet tall (1.83 meters), and I can comfortably extend my tripod to full height and still see through the camera viewfinder.  Some low cost ball heads have an oily or greasy substance smeared on the ball, and since your hands are always touching the area you will invariably get the grease on your hands. This substance always seems to attract dust too.  Fortunately, the Markins ball heads do not have any oil or grease on the ball. The Markins is designed to be used in a wide range of weather conditions and will not attract a lot of dust to the ball area. It is basically a “maintenance free” head. You'll be able to use it for years without worrying about oiling the thing. Just clean it every once in a while with a dry rag, and you are ready to go. Why the Markins Ball Head Tension System? Of all the features found on the Markins Q-Ball heads, the tensioning system alone makes the heads well worth their cost. It is vastly superior to any other ball head I've ever used and makes the use of the head much more flexible and fast.  On my previous ball heads, I would use my left hand to control the tension knob while using my right hand to position the camera at the best angle for the image. When I was done with one picture, I'd loosen the tension knob and hold on to my camera carefully until I had it positioned for the next image, then retighten the tension knob. For obvious reasons, I had to be very careful not to let go of the camera at any time the tension knob was loose.  I was perfectly happy with that process, since it was simple and fast enough. However, once I used the Markins tensioning system, I was a changed man.  I discovered a principle that I later discovered was called the “sweet spot.” What is a sweet spot, you ask? Well, let me rave a little about it! With the Markins, instead of moving my camera with one hand, clamping with the other, and hoping I didn't forget to hang on to the camera while the tension is loose, all I had to do was tighten the ball head until the tension allowed me to move the camera at will and then go shoot.  In other words, I found I could set the ball head tension so that it kept my camera from moving, but I could then just reach up and move the camera to a new position without touching the tension knob. What a concept! ... The “sweet spot” is the place where the tension on the ball clamp exactly equals the mass of the camera so that it does not move. Without touching the tension knob I could use one hand to move the camera to any position I'd like.  No more was I a slave to the tension knob. No longer did I have to worry about my camera flopping over forward because I had not set the tension correctly. I simply put my camera on the ball head, set the tension so that it would still move without flopping, and then go shoot pictures. I would not have to touch that tension knob again unless I put a much heavier lens on the camera and needed to adjust for the extra weight.  To me this was a revelation. I had tried tripod heads of all sorts for years and never really been happy with any of them. I've had heads with so many positioning knobs that I'd have trouble remembering what they all did. I've used heads with all sorts of squeeze-and-position ideas too. None of them ever satisfied that inner desire for a simple head that was easy to use but very flexible.  I almost found tripod head happiness with a standard ball head, but was aggravated with how the camera flopped around so easily if I did not get the tension just right on the ball clamp. It only took me a few minutes with the Markins M10 to realize that I had honestly found what I had been looking for in tripod heads. To me it is the ultimate ball head! How Does the Tension System Work or, How Do I Find the Sweet Spot?
It is a very simple system requiring only a thumb. Huh? That's right, you do need to have at least one thumb to use a Markins M series ball head. Well, If you have no thumbs, you could simply use a fingernail to set a special “ friction limit control dial ” (tension lock) on the side of the “ progressive friction control knob ” (main tension knob). After you select your camera and lens combo for your shooting session, you'll mount the camera on the ball head. Then, just like with a cheaper ball head, you'll then hold your camera with one hand, and tighten the tension knob with the other.
The only difference is that you do not set the tension knob so tightly that the camera cannot move. You only tighten it up enough so that the camera does not flop over in any direction. Then you turn the little tension lock with your fingernail or thumb clockwise until it stops. (see Figure 1) At this point, your camera will move to any position the ball head allows, without creeping or flopping around.  When you are done with a shot, you don't have to do anything except move the camera to a new position for the next spot. You've got the sweet spot set for that camera lens combo. That's all there is to it!  One nice thing about the tension lock that also takes away a measure of aggravation is that, once you have it set, you cannot loosen the ball head enough to make the camera flop over. You can loosen it enough to let it creep under its own weight, but not flop with catastrophic results. This is a marvelous protection for your expensive camera and lens and takes away the most difficult part of using a ball head. No more too loose settings.  Later, if you decide to use a bigger camera body, or a much heavier lens, you'll need to readjust the tension ball and lock. First you'll use your thumb or nail to release the lock in a counterclockwise direction. Then you'll reset the tension on the main knob to match the weight of the new camera lens combo, and then you'll turn the tension knob lock back clockwise until it stops. Another sweet spot located!  This is a really simple system of adjustments. It takes all of two minutes to learn how to use. I cannot begin to tell you how much time it saves, and how much faster you can use your camera with this Markins Q-Ball head. Which Markins® Q-Ball head Should I Consider Buying? I use a Markins M10 ball head myself, because my biggest lens currently is the AF Nikkor 80-400mm VR. (see picture on right) If you have a larger camera, like the D2/D3, and use a big lens like the 300mm f/2.8 or larger Nikkor, you might want to consider the Markins M20 instead. It is not so much a matter of weight, since the M10 will support up to 88 pounds (40 kg) and I don't think many of us have a camera or lens that weighs that much. The problem is that the tension required for a very heavy camera lens combo makes it harder to find a smooth sweet spot that does not allow creeping. The heavier weight of the large lenses causes such a tight tension to be set to prevent movement, that it is hard to move the camera as smoothly without loosening the knob.  ... From my experience with the D2X camera and the medium sized 80-400mm Nikkor, the M10 works just fine. If you are using anything smaller than a D2X, like a D300S, D7000, D90 or comparable camera, and normal lenses, you will not need anything bigger than the M10. The only time I'd consider the M20 is if you have a D2/D3 camera and a really big fast telephoto lens. Or, you might just like to own the M20 in case you ever buy a big lens and camera in the future. That is a consideration because I can't imagine wearing out one of the Markins ball heads in a lifetime or two of use. Camera and Lens Plates Another feature of the Markins system that I really appreciate is the design of the camera and lens attachment plates.  Since the Markins heads have the sweet spot feature, you'll find yourself moving the camera around a lot. There is a little bit of torque involved in moving the camera so the plates are designed to wrap around the body to prevent unscrewing themselves when you move the camera.  How often in the past have you moved your camera on another type of tripod head and had the blasted plate turn on the bottom of the camera? Then you have to remove the camera from the tripod and over-tighten the plate to keep it from coming loose again. This is not good for your camera since all that extra tension of over-tightening the mounting plate is pulling against the threads in the camera's bottom side. It is only a matter of time until something breaks.  The Markins plates solve that problem by extending the plate with a lip or flange around the bottom of the camera in at least one, and often two directions, so that they are securely fastened and will not rotate loose when moving the camera.  Using the other ball heads, I have often left my plate on the bottom of the camera, but it was an aggravation because they were thick and caused the camera to not sit on its bottom very well. That can't be avoided completely, but the Markins plates are much nicer in that respect. They are very thin plates and fasten to the bottom of your camera or lens with an Allen head screw. They are very attractive looking and blend in well with the camera body. If anything, they add to the coolness of the camera with their distinctive look.  Everything about the Markins ball head system speaks quality! When someone sees this ball head and camera plates, along with your Nikon and Nikkors, they'll know without a doubt that you are a serious photographer. Panorama System Many of us like to experiment with panorama imaging. The Markins ball heads have a very smooth panorama control on the bottom of the tripod.
There is a small lock knob for the pano system just below and to the right of the main ball head tension knob. When you loosen the knob, the entire head will turn in a full circle. I don't know how they accomplished it, but it has a very smooth, almost fluid-like feel to it. It is not dampened like with a fluid head, but is super smooth in the way it turns.  The pano system is marked in degrees so that you can accurately make a turn to a particular degree mark. You might start at 0 degrees, and then turn to 30 degrees, then to 60 degrees, then to 90. At each point you can take a picture that overlaps the last and next one, so that you can use computer software to connect or “stitch” the images together into one long panorama image.
You could get really technical about it and learn how to find the nodal point of your lens and then use a sliding plate that allows moving the center of rotation directly under the nodal point. Then you can make undistorted rotations. Or, you could just put your camera on the Markins, loosen the pano lock knob, and take a series of overlapping pictures without worrying about the technical aspect.  Either way, with the Markins panorama features, you can get the images you want. You can just have some fun or get really serious about panoramas. The important thing is, you'll need a head with pano features to even attempt panoramas. The Markins Q-Ball design does the job exceedingly well. My Conclusions During the ANPAT 2006 I used the Markins M10 for seven days of exciting shooting action. In fact, of the 25 Nikonians on the ANPAT, 20 of them were using Markins heads. I find that to be a telling number. Why do so many Nikonians use Markins ball heads?  I can only speak for myself and I'll tell you what I think. One very cold morning on top of the Smoky Mountains at Newfound Gap, we were shooting a sunrise. It was about 6:45 AM, very dark, and 17 degrees F with the wind blowing small icy particles. Needless to say all the Nikonians surrounding me were at least double their normal size from the layers of clothing. I had on a pair of gloves that would have made it very difficult to use any tripod head. However, with the Markins, I was set to go.  Before I headed up the mountain, while still in the warmth of the motel room, I set my tripod up with the camera and lens I was going to use. I put the D2X and 80-400mm lens on the Markins, set the sweet spot, then removed the camera and packed everything up. When I arrived at the top of the cold dark mountain, I simply unpacked my tripod and camera, attached it to the Markins, and I was ready to go. I could simply reach out and move the camera to whatever position I needed to get the shot. I didn't have to touch the tension knob. I just grabbed the camera and moved it. Even in extreme cold the Markins performed like the professional ball head it is. I got the shots I wanted!
Later I took the Markins over to the Tremont area and returned that evening with some of the best shots I have personally ever taken. It might have had something to do with the fact that I was surrounded by world-class Nikonian photographers that I could imitate, but I came away from that ANPAT with images that make me very happy. The Markins was part of an overall photographic system that performed flawlessly in all of the conditions I found myself in.  Does it take a Markins to get images like this one? Maybe not, but, it sure helps when you don't have to think about fiddling around with your tripod ball head. When you can just set it for the lens you are using and then shoot, it makes images like this one come easier than ever.  Do I like my Markins? Yes! Could I ever go back to a cheap ball head? No way! I use Nikon cameras, Nikkor and Sigma EX Pro lenses, and now Markins ball heads. What's in your bag? If you don't have a Markins, ask yourself, “Why not?” They're not overly expensive. You use professional camera equipment, why not a professional ball head.
The Markins® M10 certainly changed my mind on why I need a pro-level head. Get one to try out and see if it you don't see the light in new ways too!  Keep on capturing time… Darrell Young

New Book – Mastering the Nikon D300/D300S

Where the previous edition of the book, Mastering the Nikon D300, was about 220 pages, the new Mastering the Nikon D300/D300S has about twice the material, at 416 pages. In addition there are several supplementary chapter sections available by download from a special Rocky Nook website.

The new book is designed to allow you to teach yourself all aspects of how the D300/D300S camera works. It goes beyond basic "do it this way" and explains when and why. Each chapter section has a "My Recommendation" conclusion based on useful and proven configurations. From that starting point you'll have the necessary information to try other configurations from a known base that works well.

The book covers virtually every button, dial, switch, menu, and screen in the two cameras; including Live View and D-Movie modes. In addition it has several concluding chapters that pull everything together so that you can use the camera in an expert way. You can truly become a master of the Nikon D300 or Nikon D300S with this completely rewritten and very thorough book.

A tremendous amount of research, editing, and polishing went into this latest book by the NikoniansPress/Rocky Nook editing team. I want to personally thank each of you who purchase one of the Mastering Your Nikon series books and hope you get much benefit from it.

Keep on capturing time...

Darrell Young

Nikon Announces the D7000 Camera (D90 Replacement) $1,199.95

Evolution Of The Revolutionary: The Nikon D7000 D-SLR Is The Preeminent Digital Camera For Demanding Photo Enthusiasts - The D7000 Offers Creative Freedom with Advanced Features Such as a New 16.2-Megapixel DX-Format CMOS Sensor, Six FPS Shooting, 39-Point AF System and 1080p HD Movie with Full Time Autofocus

MELVILLE, NY (September 15, 2010) – Nikon Inc. today introduced the new D7000 digital SLR camera designed to fulfill the needs of passionate photographers who demand exceptional performance, reliability, and unprecedented levels of control and versatility in a compact form factor. Engineered as an ideal balance of durability and functionality, the D7000 D-SLR features a multitude of new enhancements and updated Nikon technologies, which results in stunning photos and amazing full HD (High Definition) movies.

Continuing the tradition of innovative technology that began with the revolutionary D90, the first D-SLR to capture HD movie, the D7000 features a new 16.2-megapixel CMOS sensor with low-light ability never before seen in a DX-format (APS-C) camera. The new EXPEED 2 TM image-processing engine fuels the enhanced performance of the D7000 along with a new 39-point AF system and groundbreaking new 2,016 pixel RGB 3D Matrix Metering System to deliver amazing image quality in a variety of shooting conditions. Additionally, the D7000 D-SLR provides full 1080p HD movie capability with full-time auto focus (AF), enabling users to capture their world with both striking still and moving images.

“The D7000 D-SLR creates a new class of Nikon camera by delivering exceptional quality, control and an innovative feature set; this is a camera that enables D-SLR users to achieve a true expression of their creative vision, while concentrating primarily on image quality above all else,” said Lisa Osorio, general manager of marketing at Nikon Inc. “When you combine the innovation of the agile D7000 with the exceptional and robust line of NIKKOR lenses and accessories, the potential for D-SLR photographers and filmmakers is limitless.”


Unparalleled Performance From Unrivaled Technologies

With its new 16.2-megapixel CMOS image sensor and Nikon’s new EXPEED 2 image processing system, the D7000 D-SLR delivers superior image quality with low noise. The EXPEED 2 image-processing engine combined with a 14-bit Analog / Digital conversion brings a new level of even tonal gradations while managing color, contrast, exposure, and noise resulting in brilliant image quality. EXPEED 2 also manages the D7000’s speedy 50-millisecond shutter response, blazing AF speed and rapid six frame-per-second (fps) burst speed for up to 100 images.

The D7000 D-SLR features an all-new 39-point AF System, which includes nine center cross-type sensors that operate with more than 60 NIKKOR lenses. The 39 points in the new Multi-CAM 4800DX AF module work together to provide superior subject acquisition and fast tracking capabilities, allowing photographers to confidently capture a player stealing third from the sideline to fast-moving wildlife. Additionally, photographers can activate dynamic or single point AF, configurable in combinations of 9, 21 or 39 or a 21-point ring to match a variety of shooting styles and situations. Photographers can activate 3D tracking, which continuously follows moving subjects within the 39 AF points, highlighting the activated AF point in the viewfinder.

Utilizing Nikon’s exclusive Scene Recognition System, the camera analyzes subject information from a database containing more than 30,000 images to optimize focus, exposure and white balance. To assist in creating amazing imagery, the Scene Recognition System reads data from a groundbreaking 2,016-pixel 3D Color Matrix Meter RGB sensor that examines the scene’s brightness and color data then optimizes the camera’s performance prior to the actual exposure. Another revolutionary Nikon first, this system interprets scene data for improved control of light metering and i-TTL flash output. Additionally this new sensor allows for a new “Ambient” white balance setting which can be activated to allow warm rendering in Automatic White Balance.


Nikon Continues the Low-Light Fight

The D7000 D-SLR continues Nikon’s tradition of providing photographers the confidence to shoot in low-light, knowing they will capture high quality low-noise images. The camera’s native ISO range of 100-6400 affords the versatility to photograph in challenging lighting conditions, such as when indoors or in the evening. The ISO range can be expanded to a Hi-2 setting of 25,600, which was previously found only in Nikon FX-format territory. The resolution of the camera renders a pixel size of 4.78 µm, which allows more light to be gathered, resulting in a correctly exposed image that has less noise and finer grain.


Full 1080p HD Movies with Advanced Video Features

Building upon the popular D90 D-SLR, the Nikon D7000 captures breathtaking full 1080p HD movies with full-time autofocus and manual exposure control. To keep critical HD focus, users can choose to engage a variety of AF functions, including face priority to track up to 35 human faces, subject-tracking and normal or wide-area autofocus.

Advanced movie features also allow exposure adjustment on the fly while recording. The D7000 D-SLR offers variable frame rates and resolutions, and can record 1080p at a cinema-like 24 fps, or a web-friendly 720p at either 24 or 30 fps for up to 20 minutes per clip. Once recorded, users are able to edit and trim video clips in the camera to save time in post production. Whether utilizing a wireless or hot shoe mounted microphone, sound can be recorded via the stereo microphone input for professional audio results.

To further simplify movie shooting, Live View is activated by a single dedicated switch, and HD video recording is achieved by pressing a single button. The D7000 D-SLR also incorporates a built-in HDMI output CEC compliant (Consumer Electronic Control) that allows users to connect it to a HDTV and playback with most HDTV remote controls.

By adding versatile NIKKOR lenses to the equation, photographers can create a variety of photo perspectives to video such as isolating subjects with a shallow depth of field, and recording in low-light conditions. Combining the D7000 D-SLR with NIKKOR lenses also delivers the sharpness essential for HD video, and Nikon’s innovative Vibration Reduction (VR) II technology helps to eliminate the effects of camera shake.


No Compromise: Enhanced Build Quality, Durability and Usability

The compact design is lightweight enough for a full days use, but has a reassuring heft that hints at Nikon’s reputation for reliability. The durable camera body consists of a magnesium-alloy top and rear covers and a 150,000 cycle-rated shutter system. Additionally, the D7000 D-SLR is dust and moisture sealed and features Nikon’s dust reduction system to remove image-degrading particles from the image sensor. Among the well laid out ergonomics, users will immediately notice a new Mode Dial that eschews traditional Scene Mode icons for more advanced manual functions and two user-defined settings (U1, U2) to adapt to a users shooting style on the fly. Placed under the control wheel is a Release Mode dial, which allows access the burst modes, timer, or the Quiet Shutter, to soften the cameras operation when shooting in sensitive environments such as a ceremonies or nature.

When framing lush landscapes or tight telephoto shots from afar, users will appreciate the large, bright glass pentaprism optical viewfinder has approximately 100% frame coverage and approximately 0.94x magnification. The three-inch, 921,000-dot super-density LCD monitor with 170-degree viewing delivers bright, crisp image playback and precise Live View and movie shooting.

The D7000 D-SLR features twin SD card slots with SD, SDHC, SDXC memory card compatibility that offers several recording options including designating separate NEF (RAW) JPEG and movie files. The built-in i-TTL Speedlight flash offers coverage for lenses as wide as 16mm and has Wireless Commander support so users can choose how to light their subjects. The D7000 was designed to provide maximum performance with minimized power usage and also employs a new EN-EL15 battery which enables up to 1050 shots when fully charged.

Nikon Technologies That Empower and Inspire

The D7000 D-SLR contains many features aimed at empowering the user with creative freedom including the ability to process RAW images directly in the camera, and add in special effects using the retouch menu. Among the many editing options are color filters, distortion control for a fisheye effect, perspective control for a miniature effect, or a new color sketch filter that creates a sketch-styled image. As always, manipulated images are saved as copies while the original is retained.

The Picture Control system also allows the choice for Standard, Neutral, Vivid, Monochrome, Portrait, or Landscape settings to apply a personal look and feel to their pictures, and it’s versatile Scene Modes let them choose from Portrait, Landscape, Child, Sports, Close-up or Night Portrait for stunning results even in challenging conditions.


Price and Availability

The D7000 D-SLR camera will be available throughout the United States beginning mid-October 2010 at an MSRP* of $1199.95 for body only and $1499.95 for body and lens outfit that includes the AF-S DX Zoom-NIKKOR 18-105mm f/3.5-5.6G ED VR lens. For more information, please visit www.nikonusa.com.


*MSRP (Manufacturer's Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.