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. 

Nikon Announces the Nikon D3100: 14.2MP, 1080P Video, $699 USD

The New Nikon D3100 D-SLR Empowers And Inspires Users As The Simple Solution To Stunning Pictures And Amazing HD Video
 
Enhanced Guide Mode and the Ability to Shoot 1080p High Definition (HD) Video with Full Time Auto Focus Allow Users to Capture with Confidence 
 
MELVILLE, NY (August 19, 2010) – The new Nikon D3100 digital SLR camera speaks to the growing ranks of enthusiastic D-SLR users and aspiring photographers by providing an easy-to-use and affordable entrance to the world of Nikon D-SLR’s. The 14.2-megapixel D3100 has powerful features, such as the enhanced Guide Mode that makes it easy to unleash creative potential and capture memories with still images and full HD video. Like having a personal photo tutor at your fingertips, this unique feature provides a simple graphical interface on the camera’s LCD that guides users by suggesting and/or adjusting camera settings to achieve the desired end result images. The D3100 is also the world’s first D-SLR to introduce full time auto focus (AF) in Live View and D-Movie mode to effortlessly achieve the critical focus needed when shooting Full HD 1080p video.

Packed into the compact and lightweight body of the D3100 camera is a host of advanced Nikon technologies, such as the new EXPEED 2TM image processing engine. EXPEED 2TM in conjunction with Nikon’s new 14.2-megapixel DX-format CMOS sensor is the driving force behind the enhanced performance and rich image quality. Ready to go wherever life leads, the D3100 features split-second shutter response and a blazing fast 11-point AF system to help ensure tack-sharp images. For shooting in challenging lighting conditions, ISO 3200 (expandable to 12,800) enables versatility in environments such as indoors or in the evening hours.

“People are stepping up to digital SLR cameras – consumers are embracing the enhanced performance, amazing image quality and options for lenses and accessories that only a D-SLR can provide,” said Lisa Osorio, general manager of marketing at Nikon Inc. “The D3100 is a camera that makes it easy to take beautiful pictures and will grow with the user, unlocking their potential and assisting in creating lasting memories or amazing art.“

Get Inspired With The Guide Mode
Whether new to D-SLR photography or exploring new shooting techniques, the D3100 features an enhanced Guide Mode with an easy-to-use interface to help customers build confidence in using their D-SLR through on-demand, step-by-step assistance. A stand out feature in the D3100’s predecessor, the D3000, the Guide Mode is easily accessed through the Mode Dial on the top of the camera. This enhanced help function now features sample assist images that change with camera settings to inspire consumers to achieve a desired look and feel to their images, while guiding through easy to understand photographic techniques. For example, to instill the majestic appearance of moving water, users can select “show water flowing” from the Guide Mode, and simply follow the prompts to create the ideal camera settings to capture an amazing image.

By following the guidance on the bright 3-inch LCD screen, users can achieve professional looking photographs to be proud of. Whether looking to soften backgrounds, freeze a moment in time or convey motion, the Guide Mode assists users in exploring effective picture taking solutions at their own pace to make capturing great pictures even easier and enjoyable.

Full HD Video Made Easy with D-Movie
The Nikon D3100 D-SLR allows users to capture stunning Full HD, 1080p resolution (1920x1080) movies. Users can record cinematic quality 24p video clips, or shoot at 24 or 30 frames-per-second at 720p, ideal for sharing online. By incorporating versatile NIKKOR lenses to the equation, users can now create a variety of photography effects to video such as isolating subjects with a shallow depth of field, and recording in low light conditions. NIKKOR lenses also deliver the sharpness needed for HD video, and Nikon’s Vibration Reduction (VR) II technology helps to eliminate camera shake.

While Nikon pioneered HD video in a D-SLR, Nikon is now introducing another industry first to enrich the user experience: The D3100 is the first D-SLR to implement full time AF for D-Movie video shooting and while in Live View mode. Using contrast based AF, the D3100 automatically focuses on subjects when Live View is activated to aid shooting when using the LCD. The D3100 camera also uses Face Detection technology to lock focus on up to 35 human faces, a feat not even accomplished with consumer camcorders. To further simplify movie shooting, Live View is activated at a single flick of a dedicated switch, and HD video recording is achieved by a simple press of a button.

Sharing and editing video clips is also easier than ever, as the D3100 records movies in the versatile H.264 AVCHD codec (.mov file). While playing movies back in the camera, users are able to edit recorded videos by clipping footage from the beginning or end of a movie. High Definition movies and stills can be shared with family and friends on an HD television via HDMI output, and control slideshows and video using the HDMI Consumer Electronics Control (CEC) interface that is a part of most modern remote controls from HDTV manufacturers. Additionally, the D3100 is compatible with the new SDXC memory card format to store large amounts of photo and video data so users can shoot multiple scenes without interruption.

Renowned Nikon Technology
The D3100 leverages proven Nikon technologies to create the most positive picture taking experience for consumers of any skill level. With its new 14.2-megapixel CMOS image sensor and Nikon’s new EXPEED 2TM image processing system, the D3100 delivers exceptional image quality with low noise. The new EXPEED 2TM image-processing engine enhances camera performance and helps to ensure brilliant image quality while managing color, contrast, exposure, noise and speed for optimal results. The D3100’s normal ISO range extends from ISO 100 to 3200, allowing users to capture stunning images, even in low light environments. Additionally, the D3100’s ISO range can expand to a Hi-2 setting of ISO 12,800, furthering the opportunities for low-light shots that other cameras miss.

Other exclusive Nikon technologies include the Active D-Lighting system, which automatically rescues dark or backlit images to help create flattering images with even tones. This is especially useful when photographing subjects that are backlit by the sun or lights to provide an even exposure.

What’s more, Nikon’s Scene Recognition system draws upon the 420-pixel RGB color 3D Matrix Meter for outstanding exposures under a variety of lighting conditions by integrating a database of tens of thousands of sample images. The result is a camera intelligent enough to recognize when photographing a specific scene such as a portrait or landscape and automatically choose the proper camera settings.

To make taking great pictures even easier, the D3100 elevates Nikon COOLPIX technology and incorporates an Auto Scene Selector feature in Live View. This innovative function automatically selects the best scene mode to match shooting conditions. When engaged, the camera will automatically recognize when shooting a lush landscape or fast action sports and adjust the camera settings to create an astounding image. Six preset scene modes can also be accessed with the Mode Dial on top of the camera to overcome many common shooting challenges.

Compact Design. Huge Performance.
With comfortable yet intelligent ergonomics, the D3100 packs powerful technology that’s easy to use into a compact form factor. The advanced 11-point autofocus system of the D3100 makes it easy to find and focus on a subject through an enhanced viewfinder design with new “hollow” focus points to give a clear view of the subject.

In the playing field or the backyard, the benefits of Nikon’s advanced 3D Subject Tracking become clear, as the camera continuously focuses on fast moving subjects throughout the frame, resulting in crisp, clear action shots. Additionally, the D3100 offers split-second shutter response, eliminating the frustration of shutter lag—the annoying delay that ruins so many pictures. With the ability to capture images at up to three fps, users never miss a moment.

Also added to the D3100 is a Quiet Shutter Release mode, which substantially reduces the sound of the mirror while shooting. Quickly accessed by selecting “Q” on the release mode dial, this feature is ideal for the photographer who wishes to remain unobtrusive, for example during quiet ceremonies or photographing a sleeping baby.

Nikon also empowers users to prepare their photos for sharing quickly and easily using Nikon’s extensive in-camera Retouch Menu, which easily applies a variety of fun and dramatic effects to images without a computer. Fun and easy-to-use adjustments include a miniature effect to photos, image overlay, color outline and softening filters for flattering portraits and realistic skin tones.

The D3100 also incorporates Nikon’s Integrated Dust Reduction System, which offers a comprehensive solution that combats the accumulation of image-degrading dust from the camera’s image sensor. The shutter is tested to 100,000 cycles for maximum durability, ensuring years of captured memories.

Gateway to Legendary NIKKOR Optics and Accessories
Nikon has also introduced the ideal companion to the D3100, the brand new AF-S DX NIKKOR 55-300mm VR lens, which gives users super-telephoto zoom capability for an affordable price. This is a perfect complementary lens when combined with the AF-S 18-55mm VR kit lens, and is great for capturing images of sports and wildlife around town or on vacation. Photographers can also appreciate the D3100’s system expandability, as it is compatible with more than 40 legendary NIKKOR AF-S interchangeable lenses. While the D3100 offers a versatile built-in flash, the camera also operates with Nikon’s Creative Lighting System and is capable of Advanced Wireless Lighting when using the SB-900 Speedlight or the SU-800 Wireless Commander. The D3100 D-SLR’s design also supports Eye-Fi memory card functionality, enabling the convenient wireless transfer of images from the camera to a computer when using Eye-Fi memory cards. Also included is a new version of Nikon’s powerful image editing application, View NX2. The latest edition of this software allows users to organize and edit both photos and video files easily.  

Price and Availability
The D3100 D-SLR camera outfit, including the versatile AF-S NIKKOR 18-55mm f/3.5-5.6G VR image stabilization lens, is scheduled to be available at Nikon Authorized dealers beginning in mid September 2010, at an estimated selling price of $699.95.* The AF-S DX NIKKOR 55-300mm f/4.5-5.6G ED VR lens will be available starting in September for $399.95*. For more information, please visit www.nikonusa.com.

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

Using Facebook to Communicate with Image Buyers (and Viewers)

Recently, I've been experimenting with "viral networking" for my photography work.  Even though it sounds dangerous, it can be a lot of fun. With so many people producing excellent images, it's easy to get lost in the crowd.

Fortunately, we have some new tools that allow any of us to create a nice looking Facebook fansite and display an image or two, or even stream a gallery, at little or no cost.  I use Photoshelter as the backend to my gallery here on my Facebook landing page.

I really like the Photoshelter website tools for photographers who want to self market their images.  I use them to drive my Facebook fansite and my personal website YoungImaging.com.  If you are web savvy, you can accomplish a lot, with much less effort than ever before.

If you can provide a link to your images from a webserver somewhere, that's all you'll need to create your own Facebook fansite and attract friends or even buyers to your best images.  If you know a little HTML you'll enjoy using the "static FBML application" that's available to you on Facebook.  With this tool you can create your own business Facebook site, and stream your gallery. Photoshelter has published a document (webpage) that will help you get started.

I'm having a great time learning about all these new technologies. If you want to market your lovely images, you may find it more profitable to do it yourself.  Stock agency prices are falling rapidly.  Marketing unique images not available anywhere else can still be quite profitable.  Make your camera pay for itself!

Keep on capturing time...

Darrell Young

Traveling Cherohala Skyway with a Nikon DSLR

For several years now I've been spending time on the Cherohala Skyway.  It begins in Tellico Plains of Monroe County Tennessee and ends 50+ miles later in Robbins North Carolina.  That fifty mile drive across the National Scenic Byway is one of personal enjoyment and beauty.

In my experience, it takes about three or four hours to make the drive.  I'll stop at the overlooks and sit for a few minutes—enjoying the deep mountain view.  The wind is invariably blowing and provides a respite from summer heat.  My favorite time to travel the Cherohala Skyway is in Autumn since the colors are often spectacular.

I've shot images on the Skyway over the years with a Nikon D100, D70, D2x, D300, and for this year a D300s.  I am going to add the additional dimension of video in 2010.  Our Nikon cameras are giving us more ways to capture the beauty we find around us.  Still and video on demand.  I'm really enjoying it.

When shooting on the Cherohala Skyway, plan to have a tripod with you since it can be a bit windy. It might be good to bring some hooks so that you can hang your camera bag from the bottom of your tripod for extra stability. Learn how to use High Dynamic Range (HDR) techniques in order to capture the sometimes high contrast you'll find.  Shady roads and bright skies, like the picture above, can be hard to capture without using advanced techniques like HDR, or by using a graduated neutral density filter.  I am beginning to prefer HDR, since I bought the low-cost Photomatix Pro software for my computer.  It makes the combination of HDR images much easier to accomplish.

 

It's always much more fun to have a companion or two with you on the Skyway.  I often take photographer buddies with me. We'll set up our tripods and see who can take the best pictures.  Later it's a lot of fun to compare the images and see who got that coveted masterpiece for their blog, album, or wall. The Cherohala Skyway is like a short version of the Blue Ridge Parkway.  Instead of the hundreds of miles on the Blue Ridge Parkway, the 50 miles of the Cherohala Skyway is about a half-day's trip; when time is allowed for stopping at the most impressive overlooks.  If you are on the parkway with a bunch of fanatical Nikonians—like I often am—you might even wring a full day out of it.

 

The only "problem" I can detect on the Skyway is that it ends in the middle of nowhere in North Carolina.  To get back to civilization one has to either reverse course back down the Skyway, or travel toward Maryville Tennessee on a road called the Dragon.  This road is highway 129 from Robbins NC to Maryville TN. The Dragon has an enormous number of deep curves that allow a biker to lay their cycle over on its side in a sweeping turn. For this reason the Skyway is frequented by sometimes hundreds of motorcyclists and sport's car drivers as they travel toward the twisty Dragon road at the end of the Skyway.  Plan on allowing a couple of hours travel time into Maryville due to the heavy cycle, sport traffic, and endless curves of the Dragon.

When you're driving along the Dragon, there are now many pulloffs that allow you to get out of the way of the enthusiastic bikers as they lean into the curves with gusto.  Please do let the bikes and sport's cars get by since many of them have traveled a long distance to get to the famous road and want to enjoy themselves. There have been many many accidents due to the disparity between the speed of the bikes and cars.  Also, be prepared to have your picture taken as you drive along the Dragon.  There are a number of websites that station photographers along the Dragon and take your picture as you drive by.  They even photograph the family van on the move.  You can then go to one of the websites and buy your photo as you drive along avoiding bikers.

I'm not one to complain often, but I do have one complaint I'd like to put in front of the "open-pipe" bikers of the world. Many cyclists use Cherohala Skyway to get to the Dragon. You can imagine how irritating it is when one is enjoying nature's beauty with one's family to have a group of extremely loud Harleys shaking the leaves off the trees. You can hear the bikes for several miles before they arrive, as they roar through the otherwise silent beauty of the mountains.  I know that this is a touchy subject with many bikers, however, it is an equally touchy subject to people who enjoy the quiet beauty of nature.  I'm afraid this is an unfortunate stand off.  Were I a regular biker, I think I'd use a quiet motorcycle out of respect for the beautiful natural areas like Cherohala Skyway and the people who want to get away to a quiet place.  Many bikers do drive quiet motorcycles!  However, there are always a few who don't seem to care about others and proudly achieve decibel levels that are harmful to the hearing of humans and animals and make it difficult for non-bikers to enjoy their surroundings. Why?

 

But I digress...

When you are traveling the Skyway, you can pull off on the wide shoulders of the road and at overlooks for some really spectacular images.  Bring large memory cards for your camera and prepare to come home with some of the most beautiful images you've ever taken.  Also bring lots of food and gasoline, you'll not want to leave soon.

I've been shooting on the Cherohala Skyway for many years, and I never tire of it.  My Nikon camera and I are often seen peering into the distance with a zoom lens.  Speaking of lenses—in my experience I find that a short to medium telephoto zoom is what you'll most often use.  If you are a prime lens user, you'll need a 24mm and 35mm lens for the majority of your images.  If you want to isolate beautiful parts of the mountains scene, like the whitened dead trees in the image above, you'll need a longer lens.  I used a Nikkor 200mm f/4 to get the shot just above.

 

Do a Google search on Cherohala Skyway and you'll find a plethora of maps and guides to the area.  The Skyway is near the Great Smoky Mountains National Park, with all the scenic wonder of the Smokies.  If you see a white Jeep Wrangler parked alongside the road, and a few guys with Nikons and tripods, stop and say hello.  I'm sure it'll be me and my Nikonian buddies.  See you in the mountains! 

Keep on capturing time...

Digital Darrell

New Image Sensor Type Now Available

The other day I read somewhere about an amazing new type of image sensor that's available now. We'll see how many camera companies start using it.

What is different about this sensor?  They take special small crystals of some light sensitive grains and put them in a layered acetate base containing a built in color filtration system. The really cool thing about this new sensor is that it replaces itself on each shot, so there's no need to worry about dust spots.

The new camera that uses them actually takes a roll of the sensors and moves them across the focal plane with each shot.  It is sooo cool, because they devote one whole sensor to each image. Talk about luxury. But wait, there's more! With these sensors, there is no blur filter, so sharpness is a given.

Each of the sensors contain about 25-100 megapixels. Plus, since the sensors are loadable, the new camera bodies are much less costly to build, and last longer. I hear they have no heat buildup AMP noise at all.

And, finally, the best thing about the new sensors is that each one of them is Full-Frame (FF) so your older lenses work like they used to.  No more cropped sensor views.

I was completely amazed to hear that the sensor replacement rolls would sell for something like $14 USD. I can't understand how they could cram this much technology into such a small place.

They guy that invented this new sensor technology is a real genius. Do you think it will catch on?

Keep on capturing time...
Digital Darrell

A Tale of Three Sigma Lenses

I want to tell you a tale mixed with happiness, aggravation, frustration, and compromise.

I've owned a Sigma 10-20mm f/4-5.6 EX DC HSM lens for a couple of years now, and it has performed well and been a reliable lens. So, I figured I'd be safe in buying another Sigma EX pro lens. Maybe I was wrong. The jury is still out. Here's my story:

January 2009 - Lens # 1

In mid January 2009 I decided to buy a Sigma 18-50mm f/2.8 EX DC HSM Macro lens from Amazon.com for 2009's landscape shooting (lens # 1). This is a flagship lens from Sigma® , considered one of their professional models with highest quality, build, and sharpness.

In Amazon's normal excellent fashion they had the lens to me post-haste, and I plugged it into my Nikon D300 camera for happy testing. I went out and shot a couple hundred images and then came home to examine them at pixel peeping levels. Whew, was I disappointed. For a lens advertised as sharp, this one wasn't. I started doing some testing to see why I had sharpness issues and found that the lens had a serious case of "front-focus." If I close-focused on the "K" in my Nikon lens cap, the beginning "N" would be in focus, instead. I used the focus fine tuning in my Nikon D300 to try and push the focus forward to an acceptable level, but after taking the fine tuning adjustment to level 20—the maximum—I could not quite push the focus to where it was supposed to be.

February 2009 - Lens # 2

Around the first of February I contacted Amazon.com with my painful story. "Ship it back!" was Amazon's kind reply. "Send it to us today, and we'll cross-ship a new one to you. As long as you have the old one to us within thirty days we'll not charge your credit card." What a deal! I love Amazon.com.

So, I shipped the lens back to them that same day, and the cross-shipped replacement arrived a couple of days later (lens # 2). I opened the box and immediately did some testing. This lens focused on the Nikon lens cap "K" after a moment. It took a bit to settle down, like I was using Continuous AF, even though I was using Single. However, it focused on the "K" so I was happy.

May 2009

I used the lens for a month or two, and then had an event to shoot for a school. I shot the graduation ceremony of just under 30 students and during the shooting I had a really hard time getting my Nikon SB-900 to expose properly. I was getting underexposure on one frame, over exposure on the next, and a good exposure on the third. I struggled with this situation for a time, then changed to a Nikkor lens, and the problem went away immediately. At first, I thought that something was wrong with my flash unit, but the Nikkor lens disproved that. The only culprit could be the Sigma. Evidently, due to a flaw in the lens it was not sending good distance information to my camera and flash unit. So, in addition to the slow focus, it had another rather serious problem, too.

July 2009

"Well," I though to myself, "I want to use this Sigma as a landscape lens, anyway, so I'll leave off using it for events." I shot with the lens all summer in the Great Smoky Mountains and on the Blue Ridge Parkway in North Carolina, USA. The lens performed very well with excellent sharpness and contrast. The pictures were excellent. I still had a little trouble with the AF system not settling down immediately as if it were seeking a better focus, but when it did, it was nice and sharp. As summer progressed and moved into fall, I started having more problems with the lens' AF system. It was beginning to refuse to focus at infinity between 18 and 20mm. It was sporadic at first, but got progressively worse. Of course, with many months having passed, I knew that Amazon.com would not accept it back, but I wasn't worried, "I have a five-year warranty" I told myself. As it turned out it is only a 4-year warranty, but, on with the tale.

October 2009 - Lens # 3

I got through the fall leaf shooting season by finally resorting to manual focus. I figured I would wait until early December to send it off for repair since winter was coming and I'd be doing much less photography. About that time, a friend decided to get himself hitched to a sweet wife, and asked me to shoot the wedding. I accepted, then realized that I couldn't use the very sharp Sigma, since it wasn't focusing correctly. Then, I had a great idea. "I'll just buy myself another of these incredibly sharp lenses and use it for the wedding. That way, I'll have two of them around, and still have one to use while my other one is off in the Sigma shop." I figured I could give the newest one to my wife as a nice present when my repaired Sigma returned, and get off of washing dishes duty for a couple of weeks. It didn't work out that way!

I ordered a brand new Sigma 18-50 from Adorama.com, and it arrived in a couple of days (lens # 3). I pulled it out of the box and tested it right away. I noticed quickly that I was having problems with it focusing across the room on my Nikon D300, so I switched it to my Nikon D2x. Same results! I even tried it on my wife's Nikon D90. No change. I took some pictures with the lens and found that it didn't seem as sharp as my other Sigma, so I put both of them on a tripod and started testing. The new Sigma was only about 70% as sharp as my other one. So, now I had in my hands the third 18-50mm Sigma with problems in less than one year. I also noticed that the new Sigma's images were not on the same image level as my other Sigma. What I mean is, if I photographed the same object from the same location, the new Sigma's image was lower by a few degrees. I figured that the new Sigma must have a shifted lens element, which may explain the lack of sharpness and the shifted image. So, I called Adorama and returned it (lens # 3) the same day.

November 2009

I contacted Sigma through their website and opened a repair ticket on my partially focusing, but sharp Sigma. I got an email giving me the go-ahead to ship the lens, along with a UPS label. I packed it up in its original box, with copies of all the warranty papers and sent it on its way (lens # 2). A couple of weeks later, I get an email telling me that they are ready to repair my lens, but would I please go to their website and pay the $100 that it would take to fix it?

"Huh?" I thought. "Pay to fix a lens under warranty?" I responded to the email that this is a warranty repair, so why were they asking me to go to their website and pay them $100? Here is the reply I got, and it knocked me backwards when I read it:

From: [CENSORED]
Sent: Thursday, December 10, 2009 4:38 PM
To: Darrell Young
Subject: RE: Estimate sb898

Thank you for choosing Sigma products.

I spoke with the repair department and they said it is not covered under warranty because it is physical damage to the lens and that is why you are being charged.

Physical damage does not fall under warranty coverage.

We apologize for the inconvenience.

[NAME WITHHELD]
Customer Service/Technical Support
Sigma Corporation of America
15 Fleetwood Court
Ronkonkoma, NY 11779
(631)585-1144
(631)227-2021 (direct)

So, I sit here today, seething with frustration. Sigma is trying to get out of fixing my lens with the claim that I must have damaged it in some way. I am so frustrated right now at the injustice of this situation that I simply don't know what to do. To keep from exploding, I thought I would blog to you about it. I have never dropped this lens, treated it roughly, or ever done anything but carefully use it to take great pictures, yet Sigma is claiming that I have damaged the lens. It has not worked correctly from the day I purchased it, so if it was damaged, I certainly didn't do it. What can I do?

What good is a 4-year warranty, if all a company has to do is claim that the lens is damaged and then not honor it. Honestly, had I damaged this lens I would have owned up to it and paid to get it fixed in the first place. This is simply unfair treatment by a company that should know better.

Today is December 10th, 2009, and this situation is unresolved. I have emailed Sigma explaining that I did not damage the lens, and requesting that they fix it. I'll let you know what happens. Check back soon!

December 14, 2009 - Resolution

Well, I think we have reached the end of the line on this one today. Sigma is adamant that there is damage to the lens. I have no idea where the damage came from, but it must be there. I suppose I should have sent this lens back at the beginning, when I saw that it was slow about focusing. I have learned a lesson here. They are not willing to fix the lens under warranty. However, they have offered to drop the labor charges and fix the lens for $60.00 USD.

I don't think there is any further resolution available on this issue, so I am going to pay the price and get my lens back. Otherwise, it will just remain partially inoperable and crippled. I am disappointed, of course, but understand their limitations. I will never buy another new Sigma lens again. I will buy them used, where warranty does not matter.

I asked Sigma how this affects my warranty, and was told that the rest of the normal warranty still applies, but that the repair only has a 90-day warranty. Why not extend the warranty on the repair out to the end of the main warranty? Do they not have confidence in their repair department? Will the lens break in exactly the same place again? Is there a weak component in this lens that is troublesome? This lack of confidence in their own repair work further erodes my confidence in Sigma.

December 21, 2009 - Aftermath

The UPS man brought me my repaired Sigma (lens # 2). It works perfectly. It focuses at any focal length instantaneously. I've never seen this lens even come close to this type of autofocus performance before today. This tells me something important. When I received the lens from Amazon.com, it already had damage! I highly doubt that it was damaged by Amazon—it may have been dropped by a shipper. However, after my experience with the other two Sigmas in this tale (#1 and #3), I am highly suspicious that this is a Sigma Quality Control (QC) department issue.  Why?  Have you ever seen how well packaged lenses are when they are shipped?  This Sigma was inside a zipper case, inside a lens box with styrofoam, and inside a bigger box well wrapped with air-pocketed plastic.  In other words, the lens was inside of three packages.  It would have taken a fall from an airplane at 30,000 feet to damage the lens.  Yet, it came to me damaged.  Quality control if you ask me.

Moral of the Story

If you buy a Sigma lens, test it very very well before you decide to keep it. If you detect any flaws, don't do like I did and decide to wait until later in the year expecting the warranty to cover the lens. Sigma is liable to blame it on you, just like they did me! At the beginning the problem was relatively minor and may have been fixed under warranty with no question. My using the lens for several months until partial failure clearly aggravated an already damaged component. This made it look as though I was trying to pull a fast one on Sigma. Clearly, they have little trust in their customers. I feel that they only repaired this lens at such low cost due to reading the progression of this very blog. After reading it, they immediately offered me the "professional courtesy" (their words) of charging me less for the warranty repair.

If you acquire a Sigma lens and it works well, hang on to it. Sigma makes great lenses if you can find a fully functional one. Mine is sharp as a tack and nice and contrasty too. However, it was a long and rocky road to get a dependable lens. I had to return two, and have one repaired at my expense—while under warranty—to get satisfaction. From now on, I'll only buy new lenses from Nikon. They honor their warranties! Any Sigma lenses I purchase in the future will be used lenses with no warranty to "worry about." Imagine having to say something like that about one of the world's major lens manufacturers. Shameful!

Keep on capturing time...
Digital Darrell