® D700 Digital Field Guide

J. Dennis Thomas

01_413203-ffirs.indd iii 11/14/08 9:22:40 PM 01_413203-ffirs.indd ii 11/14/08 9:22:40 PM Nikon® D700 Digital Field Guide

01_413203-ffirs.indd i 11/14/08 9:22:39 PM 01_413203-ffirs.indd ii 11/14/08 9:22:40 PM Nikon® D700 Digital Field Guide

J. Dennis Thomas

01_413203-ffirs.indd iii 11/14/08 9:22:40 PM Nikon® D700 Digital Field Guide Published by Wiley Publishing, Inc. 10475 Crosspoint Boulevard Indianapolis, IN 46256 www.wiley.com Copyright © 2009 by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN: 978-0-470-41320-3 Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WAR- RANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATION OR WEB SITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGA- NIZATION OF WEB SITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READ- ERS SHOULD BE AWARE THAT INTERNET WEB SITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at (800) 762-2974, outside the U.S. at (317) 572-3993, or fax (317) 572-4002. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Library of Congress Control Number: 2008940370 Trademarks: Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affi liates in the United States and/or other countries, and may not be used without written permission. Nikon is a registered trademark of Nikon Corporation. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book.

01_413203-ffirs.indd iv 11/14/08 9:22:40 PM About the Author J. Dennis Thomas is a freelance photographer based out of Austin, Texas. He’s been using a for fun and profi t for almost 25 years. Schooled in photography fi rst in high school then at Austin College, he has won numerous awards for both his fi lm and digital photogra- phy. Denny has a passion for teaching others about photography and teaches black-and- white fi lm photography to middle school students as well as lighting and seminars in Austin. He enjoys all types of photography and his photographic subjects are diverse, from weddings and studio portraits to concerts and extreme sports events. He has written six highly successful Digital Field Guides for Wiley Publishing and has another in the works. His work has been featured in numerous galleries, magazines, and newspapers in the central Texas area and beyond.

01_413203-ffirs.indd v 11/14/08 9:22:40 PM Credits

Acquisitions Editor Vice President and Executive Group Courtney Allen Publisher Richard Swadley Project Editor Jama Carter Vice President and Executive Publisher Barry Pruett Technical Editor Michael Corrado Project Coordinator Erin Smith Copy Editor Lauren Kennedy Graphics and Production Specialists Andrea Hornberger Editorial Manager Jennifer Mayberry Robyn B. Siesky Christin Swinford

Business Manager Quality Control Technician Amy Knies John Greenough

Senior Marketing Manager Proofreading Sandy Smith Linda Quigley

Indexing Galen Schroeder

01_413203-ffirs.indd vi 11/14/08 9:22:41 PM Acknowledgments

Thanks to Courtney, Cricket, Jama, and Laura at Wiley. Thanks to Robert at Precision Camera in Austin for always getting me the camera as soon as it arrives. A special thanks to every- one who appears in my photos, without you the images would have no subject.

01_413203-ffirs.indd vii 11/14/08 9:22:41 PM 01_413203-ffirs.indd viii 11/14/08 9:22:41 PM Contents at a Glance

Acknowledgments ...... vii Introduction ...... xix

Part I: Using the Nikon D700 ...... 1 Chapter 1: Exploring the Nikon D700 ...... 3 Chapter 2: Nikon D700 Essentials ...... 31 Chapter 3: Setting Up the Nikon D700 ...... 35

Part II: Capturing Great Images with the Nikon D700 ...... 113 Chapter 4: Selecting and Using Lenses ...... 115 Chapter 5: Essential Photography Concepts ...... 141 Chapter 6: Working with Light ...... 159 Chapter 7: Advanced Shooting Techniques ...... 191 Chapter 8: Viewing and In-Camera Editing ...... 225

Part III: Appendixes ...... 235 Appendix A: Accessories ...... 237 Appendix B: D700 Specifi cations ...... 243 Appendix C: Online Resources ...... 249 Glossary ...... 251

Index ...... 257

02_413203-ftoc.indd ix 11/14/08 9:23:05 PM 02_413203-ftoc.indd x 11/14/08 9:23:05 PM Contents

Acknowledgments vii Shooting Info Display 24 Chapter 2: Nikon D700 Part I: Using the Essentials 31 Nikon D700 1

Chapter 1: Exploring the Nikon D700 3

Exposure Modes 31 Programmed Auto 32 Aperture Priority 33 Priority 34 Manual 35 Metering Modes 36 D700 FX-format CMOS Sensor 3 Matrix 36 From analog to digital 4 Center-weighted 38 CMOS versus CCD 4 Spot 39 CCD 4 Focus Modes 39 CMOS 4 How the D700 5 works 39 Micro-lenses 5 Phase detection 40 Interpreting color 5 Contrast detection 40 Key Components of the D700 5 Continuous 40 Top of the camera 6 Single 41 Back of the camera 8 Manual 41 Front of the camera 11 Autofocus Area Modes 41 Right front 12 Single-area AF 42 Left front 13 Dynamic-area AF 42 Sides and bottom of camera 14 9 points 43 Right side 14 21 points 43 Left side 15 51 points 43 Bottom 15 51 points (3D-tracking) 43 Viewfi nder Display 16 Auto-area AF 43 Control Panel 20

02_413203-ftoc.indd xi 11/14/08 9:23:05 PM ISO Sensitivity 44 Playback Menu 65 Auto ISO 44 Delete 66 Noise reduction 45 Playback folder 67 Long NR 46 Hide image 67 High ISO NR 46 Display mode 67 White Balance 47 Image review 68 What is Kelvin? 47 After delete 68 White balance settings 48 Rotate tall 69 Picture Controls 51 Slide show 69 Original Picture Controls 51 Print set (DPOF) 69 Optional Picture Controls 52 Shooting Menu 70 Custom Picture Controls 52 Shooting menu bank 70 JPEG 57 Reset shooting menu 72 TIFF 59 Active folder 72 Image Size 59 File naming 73 Image Quality 59 Image quality 73 NEF (RAW) 60 Image size 74 Type of compression 60 Image area 74 Bit depth 61 JPEG compression 75 Live View 63 NEF (RAW) recording 75 White balance 76 Chapter 3: Setting Up Using standard WB the Nikon D700 65 settings 76 Choosing a color temperature 77 Preset white balance 78 Set Picture Control 80 Manage Picture Control 81 Color space 82 Active D-Lighting 82 Vignette control 83 Long exp. NR 84 High ISO NR 84 ISO sensitivity settings 85 Live view 85 Multiple exposure 85 Interval timer shooting 86 Custom Settings Menu 87 Custom setting bank 87 Reset custom settings 87 CSM a – Autofocus 87 a1 – AF-C priority selection 87 a2 – AF-S priority selection 88

02_413203-ftoc.indd xii 11/14/08 9:23:07 PM a3 – Dynamic AF area 88 d11 – Battery order 94 a4 – Focus tracking with CSM e – /fl ash 95 lock-on 89 e1 – sync speed 95 a5 – AF activation 89 e2 – Flash 95 a6 – AF point illumination 89 e3 – Flash cntrl for a7 – Focus point built-in fl ash 95 wrap-around 89 e4 – Modeling fl ash 96 a8 – AF point selection 89 e5 – Auto bracketing set 96 a9 – Built-in AF-assist e6 – Auto bracketing illuminator 89 (Mode M) 96 a10 – AF-ON for MB-D10 90 e7 – Bracketing order 96 CSM b – Metering/exposure 90 CSM f – Controls 96 b1 – ISO sensitivity step f1 – Switch 96 value 90 f2 – Multi selector center b2 – EV steps for exposure button 97 cntrl. 91 f3 – Multi selector 98 b3 – Exp comp/fi ne tune 91 f4 – Photo info/playback 98 b4 – Easy exposure f5 – Assign FUNC. button 98 compensation 91 f6 – Assign preview b5 – Center-weighted area 91 button 100 b6 – Fine tune optimal f7 – Assign AE-L/AF-L exposure 91 button 100 CSM c – Timers/AE lock 92 f8 – Shutter spd & c1 – Shutter-release aperture lock 100 button AE-L 92 f9 – Customize c2 – Auto meter-off delay 92 command dials 100 c3 – Self-timer delay 92 f10 – Release button c4 – Monitor off delay 92 to use dial 101 CSM d – Shooting/display 92 f11 – No memory card? 101 d1 – Beep 92 f12 – Reverse indicators 101 d2 – Viewfi nder grid Setup Menu 101 display 92 Format memory card 102 d3 – Screen tips 93 LCD brightness 102 d4 – CL mode shooting Clean 102 speed 93 Lock mirror up for cleaning 103 d5 – Max. continuous Video mode 103 release 93 HDMI 103 d6 – File number World time 103 sequence 93 Language 103 d7 – Shooting info display 94 Image comment 104 d8 – LCD illumination 94 Auto image rotation 104 d9 – Exposure delay mode 94 Dust off ref photo 104 d10 – MB-D10 battery Battery info 104 type 94 Wireless transmitter 105

02_413203-ftoc.indd xiii 11/14/08 9:23:08 PM Image authentication 105 Third-Party Lenses 135 Copyright information 105 Sigma 135 Save/load settings 105 Tamron 136 GPS 105 Tokina 137 Virtual horizon 106 Lens Accessories 137 Non-CPU lens data 106 Teleconverters 137 AF fi ne tune 107 Extension tubes 138 Firmware version 108 Filters 138 Retouch Menu 108 My Menu 109 Chapter 5: Essential Quick Settings Display 110 Photography Concepts 141

Part II: Capturing Great Images with the Nikon D700 113

Chapter 4: Selecting and Using Lenses 115

Wide-Angle and Ultrawide Lenses 116 When to use a wide-angle lens 119 Understanding limitations 119 Exposure 141 Mid-Range or Standard Zoom Shutter speed 142 Lenses 120 Using fast shutter speeds 142 Telephoto Lenses 123 Using slow shutter speeds 143 Special Purpose Lenses 126 ISO 145 Perspective Control lenses 126 Aperture 146 Macro (Micro-NIKKOR) Understanding Depth of Field 146 lenses 128 Exposure Compensation 148 Fisheye lenses 129 Histograms 149 Using VR Lenses 130 Bracketing 154 Using DX Lenses 131 White Balance bracketing 157

02_413203-ftoc.indd xiv 11/14/08 9:23:08 PM Chapter 6: Working Flash Exposure Compensation 168 with Light 159 Fill fl ash 168 Bounce fl ash 170 Nikon Creative Lighting System Basics 171 Understanding the Creative Lighting System 172 Speedlights 173 SB-900 Speedlight 173 SB-800 Speedlight 174 SB-600 Speedlight 174 SB-400 Speedlight 175 SU-800 Wireless Speedlight commander 175 R1/R1C1 Macro fl ash 176 Using the Built-In Speedlight 177 Studio Strobes 178 Continuous Lighting 181 Incandescent and halogen 182 Fluorescent 183 HMI 184 Light Modifi ers 184 Umbrellas 184 Natural Light 159 Softboxes 185 D700 Flash Basics 160 Diffusion panels 186 Achieving proper exposures 161 Other light modifi ers 187 161 Aperture 162 Chapter 7: Advanced Distance 162 Shooting Techniques 191 GN / Distance = Aperture 162 Flash exposure modes 162 i-TTL 162 Manual 163 Auto 163 Auto Aperture 163 Guide Number distance priority 163 Repeating fl ash 163 Flash sync modes 164 Action and Sports Photography 191 Sync speed 164 Techniques 193 Front-curtain sync 165 Action and sports Red-eye reduction 165 photography tips 196 Slow sync 166 Rear-curtain sync 167

02_413203-ftoc.indd xv 11/14/08 9:23:10 PM Architectural Photography 196 Retouch Menu Options 228 Perspective 197 D-Lighting 228 Architectural photography Red-eye correction 228 tips 199 Trim 229 Concert Photography 200 Monochrome 229 Techniques 201 Filter effects 231 Concert photography tips 204 Color balance 231 205 Image overlay 232 Macro lens alternatives 206 Side-by-side comparison 233 Macro photography tips 207 Night Photography 208 Part III: Appendixes 235 Techniques 208 Night photography tips 209 Appendix A: Accessories 237 Portrait Photography 210 Studio considerations 211 Portrait lighting patterns 212 Posing and composition considerations 214 Indoor 217 Outdoor 218 Portrait photography tips 219 Product and Still-Life Photography 219 Considerations 219 Product and still-life MB-D10 Battery Grip 237 photography tips 221 WT-4a Wireless Transmitter 238 Wildlife Photography 221 ML-3 Modulite Remote Considerations 222 Control Set 239 Wildlife photography tips 224 MC-36 Multi-Function Remote Cord 239 Chapter 8: Viewing and Tripods 239 In-Camera Editing 225 When to use a tripod 240 Which tripod is right for you? 241 Camera Bags and Cases 241 Appendix B: D700 Specifi cations 243

Viewing Your Images 225 The Retouch menu 226

02_413203-ftoc.indd xvi 11/14/08 9:23:12 PM Appendix C: Online Photo Sharing and Critiquing Resources 249 Sites 250 Flickr.com 250 Photoworkshop.com 250 ShotAddict.com 250 Online Photography Magazines 250 Communication Arts 250 Digital Photographer 250 Digital Photo Pro 250 Outdoor Photographer 250 Photo District News 250 Popular Photography Informational Web Sites 249 & Imaging 250 Nikonusa.com 249 Shutterbug 250 Nikon School 249 Glossary 251 Nikonians.org 249 Photo.net 250 Index 257

02_413203-ftoc.indd xvii 11/14/08 9:23:15 PM 02_413203-ftoc.indd xviii 11/14/08 9:23:17 PM Introduction

Welcome to the Nikon D700 Digital Field Guide. This guide is a handy reference book to get you started using your new camera and help you understand the different features and functions that this amazing camera offers.

It is aimed at a wide variety of readers, from beginners to advanced amateurs. Some of you are familiar with many of the concepts, while others of you may be new to digital photogra- phy with a digital single lens refl ex (dSLR) or new to photography altogether. You’ll fi nd sections to help you, regardless of your level.

With its many different buttons and features, the D700 can be daunting. My goal is to explain these settings and features as clearly as possible as you learn the layout of the D700 and how to use the features out in the fi eld.

About the D700 The D700 is the little brother to the D3, which came on the market August 2007. The D3 was Nikon’s fi rst camera with a 24 × 36mm full-frame sensor (which Nikon dubs FX). Unfortunately the $5,000 price tag was a bit beyond what most casual photographers could afford. Nikon addressed the need for a more affordable FX camera with a more compact body, and announced the D700 on July 1, 2008. The D700 is essentially a D3 within the body of a D300.

The D700’s FX sensor is identical to the D3’s 12.1 megapixel CMOS sensor. One of the advantages of having a larger FX sensor is that you have larger pixels that collect light more effectively; this enables you to use higher ISO settings without digital noise.

Another advantage is that the D700’s FX sensor allows you to use your lenses without wor- rying about the pesky “” that plagues the DX camera lines. Indeed, a 28mm lens is once again a wide-angle lens on the D700. For those of you who started with a DX cam- era and purchased DX-only lenses such as Nikon’s AF-S 17-55mm f/2.8, no worries. Nikon has built in a feature that allows the D700 to crop down to a DX-sized image; this way you can use your DX lenses effectively on the D700 camera body, albeit the sensor resolution is reduced from 12.1 megapixels to 5.1 megapixels. The D700 is compatible with almost all the Nikon lenses ever made. Nikon lenses are world renowned for their quality and durabil- ity. You can use hundreds of different lenses on the D700, and any new lens Nikon releases will be compatible.

03_413203-flast.indd xix 11/14/08 9:23:44 PM xx Introduction

The D700 is also compatible with Nikon’s proprietary Creative Lighting System. The D700 has a built-in fl ash with a wireless commander mode so, unlike the D3 without a pop-up fl ash, the D700 can control a number of off-camera Speedlights wirelessly for the ultimate control of your lighting. You can use the D700 with a number of Nikon’s Speedlights, from the new fl agship fl ash, the SB-900, on down to the SB-800, SB-600, SB-400, or the macro lighting kit, the R1C1.

As with all Nikon professional , the D700 boasts a sturdy magnesium-framed body that is augmented by weather-sealing gaskets made to keep dust, dirt, and moisture from getting inside the camera body and damaging the internal components. The D700’s rugged yet compact camera body can withstand the abuse of any demanding photographer and should last for years to come.

Although the D700 is relatively affordable, Nikon hasn’t stripped down any of its features as some other camera manufacturers are known to do. The D700 sports the same impressive Multi-CAM 3500FX 51-point autofocus (AF) system as the D3, the D3’s EXPEED imaging processor, and a 14-bit analog-to-digital converter, as well as 16-bit image processing. Like the D3 and the D300, the D700 is also equipped with the versatile Live View function, which allows you to compose your images on the amazing high-resolution, 922,000-, 3-inch LCD screen — a handy feature for framing subjects that may be diffi cult when you’re looking through the viewfi nder.

All in all, as you’ve gathered by now, the D700 is an impressive, durable camera in a com- pact body that offers many features you previously could only fi nd in the substantially more expensive D3, and that will be sure to last for many years to come.

03_413203-flast.indd xx 11/14/08 9:23:44 PM Using the PART Nikon D700 II

✦ ✦ ✦ ✦

In This Part

Chapter 1 Exploring the Nikon D700

Chapter 2 Nikon D700 Essentials

Chapter 3 Setting Up the Nikon D700

✦ ✦ ✦ ✦

04_413203-pp01.indd 1 11/14/08 9:23:58 PM 04_413203-pp01.indd 2 11/14/08 9:23:58 PM Exploring the CHAPTER Nikon D700 11 ✦ ✦ ✦ ✦

he Nikon D700 is considered one of Nikon’s pro-level In This Chapter performance camera models and, therefore, has many T D700 FX-format CMOS more buttons, dials, and knobs than most consumer and mid- level cameras. This makes it faster and easier to access the con- sensor trols that are used most, especially for advanced or professional photographers. To use the same functions in consumer cam- Key components of the D700 eras such as the D60 and D90, you need to navigate the menu functions, which can cost precious time when you are in the Viewfi nder display midst of shooting. Instead of pressing the Multi-selector ten times to fi nd the correct option in the menu system, you simply Control panel press one button and rotate a dial — it’s quick and easy Shooting info display With its many buttons and dials, the D700 can be daunting, especially if you are upgrading from a consumer camera, are ✦ ✦ ✦ ✦ new to photography in general, or are switching camera brands. This chapter helps you become familiar with the D700’s various features, as well as the LCD control panel and viewfi nder displays.

D700 FX-format CMOS Sensor The FX-format CMOS (Complimentary Metal Oxide Semi- conductor) sensor is arguably the most important part of the camera and the main reason why many photographers buy the D700. For quite a few years, Nikon has been using APS-C sized sensors (which they call DX-format) in all their cameras. They are about 24mm × 16mm and because they are much smaller than a standard frame of 35mm fi lm, lenses are sub- ject to a “crop factor.” This causes the lenses to perform differ- ently than they have on fi lm cameras. Finally Nikon released the D3, their fi rst “full-frame,” or FX, dSLR, meaning that the sensor is the same size as a standard frame of 35mm fi lm. This allows lenses to perform exactly as they had with fi lm

05_413203-ch01.indd 3 11/14/08 9:24:33 PM 4 Part I ✦ Using the Nikon D700

cameras, giving you the same angle of view. consumer level D90. Although CMOS and Unfortunately, the D3 was a bit expensive, CCD sensors do the same job, they do it dif- out of the price range for most amateurs. ferently and each type of sensor has its own Surprisingly, not long after the launch of the strengths and weaknesses. D3, Nikon released a dSLR that is essentially a D3 in a D300-sized body at nearly half the CCD price. This amazing 36 × 24mm, 12 mega- The name Charge Coupled Device refers to pixel CMOS sensor gives almost no noise, how the sensor moves the electrical charges even at ISO settings up to 6400. created by the photons that the pixels have For more information on DX sen- collected. The CCD sensor moves these sors and lenses, see Chapter 4. electrical charges from the fi rst row of pixels to a shift register (a digital circuit that allows the charges to be shifted down the line) and From analog to digital from there, the signal is amplifi ed so the A/D converter can read it. The sensor then Believe it or not, digital image sensors are repeats the processes with each row of pix- actually analog devices that capture light els until every row of pixels on the sensor just like emulsion on a piece of fi lm. When has been processed. This is a pretty precise the shutter is opened, light from the scene method of transfer, but in digital terms it’s that you’re photographing, whether it be quite slow. It requires a large amount of sunlight or fl ash, travels through the lens power, relatively speaking, so it uses more and is projected (hopefully in focus) onto of the camera battery, which equals fewer the sensor. Each sensor has millions of pix- shots per charge. CCD sensors have a higher els, which act as a receptacle that collects signal to noise ratio; which makes them less individual photons of light. A photon is a prone to high ISO noise than CMOS sensors quantum particle of light, which is a form of and enables them to provide a higher image electromagnetic radiation. The more pho- quality. tons the pixel collects, the brighter the area is; conversely, if the pixel doesn’t collect a lot of photons, the area is dark. CMOS Just like a CCD sensor, a CMOS sensor has Each pixel has a photodiode that converts millions of pixels and photodiodes. The these photons into minute electrical charges main difference between the CMOS and that the Analog/Digital (A/D) converter CCD sensor is that each pixel has its own reads. The A/D converter renders this ana- amplifi er and it converts the charge to volt- log data into digital data that can be utilized age on the spot. It’s much more effi cient to by Nikon’s EXPEED imaging processor. transfer voltage than it is to transfer a charge; therefore, CMOS sensors use less power than CCDs. Multiple channels of sensor data CMOS versus CCD can also be sent out at the same time, so About half of Nikon’s dSLRs use Charge the CMOS sensor can send the data to the Coupled Device (CCD) sensors, although A/D converter much faster. CMOS chips are Nikon appears to be moving away from this also cheaper to manufacture than CCDs. technology by putting a CMOS sensor in the

05_413203-ch01.indd 4 11/14/08 9:24:33 PM Chapter 1 ✦ Exploring the Nikon D700 5

Pixels pattern. (Dr. Bryce Bayer was a scientist at who developed this pattern.) The The more pixels the sensor has, the higher Bayer pattern lays the fi lters out in an array the resolution of the sensor. However, pack- that consists of 50 percent green, 25 per- ing more pixels onto a sensor means that cent blue, and 25 percent red. The green although the resolution is higher, each pixel fi lters are luminance (brightness) sensitive becomes less effective at gathering light elements and the red and blue fi lters are because its much smaller. A larger pixel is chrominance (color) sensitive elements. more effective at gathering photons; there- Twice as many green fi lters are used to sim- fore you get a wider dynamic range and a ulate human eyesight given our eyes are better signal-to-noise ratio, which means more sensitive to green than to red or blue. less inherent noise and the ability to achieve a higher ISO sensitivity. The camera determines the colors in the image by a process called demosaicing. In One of the reasons that Nikon chose to use demosaicing, the camera interpolates the a lower resolution sensor on their full-frame red, green, and blue data for each pixel by sensor than their competitors do is to keep using information from adjacent pixels. the pixel size larger, thereby allowing better Interpolation is a mathematical process in low-light capability. The D700 and D3 sen- which sets of known data are used to deter- sor has a pixel size of 8.5 microns, which is mine new data points. (I like to call it an the largest pixel pitch of any digital sensor educated guess.) on the market at this time.

Micro-lenses In addition to having larger pixels to gather Key Components more light, camera manufacturers place of the D700 micro-lenses over the pixels. These micro- lenses collect the light and focus them onto If you’ve used a Nikon dSLR before, you the photodiode much the same way the should be pretty familiar with the basic but- focuses the image onto the tons and switches that you need to do the sensor. By making the micro-lenses larger, basic settings. In this section, I cover the Nikon has decreased the gaps between the camera from all sides and break down the pixels, increasing the effective light gather- layout so that you know what everything on ing ability of each one. the surface of the camera does.

Interpreting color Although you can access many features with just the push of a button, oftentimes you The light-sensitive pixels on the sensor only can change the same setting using menu measure the brightness in relation to how options. The great thing about the buttons, many photons it has gathered, so the basic however, is that they give you speedy access image captured is, in effect, black and white. to important settings — settings you will use To determine color information, the pixels often. Missing shots because you are search- are covered with red, green, or blue colored ing through the menu options can get irritat- fi lters. These fi lters are arranged in a Bayer ing fast, which is one of the key reasons

05_413203-ch01.indd 5 11/14/08 9:24:33 PM 6 Part I ✦ Using the Nikon D700

most people upgrade from a consumer is turned on. When you push the model camera to a professional-grade cam- spring-loaded switch all the way to era like the D700. the right, the top-panel LCD illumi- nator turns on. This enables you to For information about specifi c view your settings when in a dimly menus and their functions, see lit environment. The LCD illumina- Chapter 3. tor turns off automatically after a few seconds or when the shutter is released. In Custom Settings menu Top of the camera (CSM) f1, you can also specify that The most important buttons are on the top this switch be used to display the of the D700. This is where you’ll fi nd the Shooting info display on the rear buttons for the settings you’ll tend to change LCD screen. most frequently. I’ve also included is a brief ✦ Exposure mode button. This but- description of some of the features you will ton is used in conjunction with the fi nd on the top of the lens in this section. Main Command dial and allows Although your lens may vary, most of the you to change among the different features are quite similar from lens to lens. exposure modes. You can choose Programmed Auto (P), Shutter ✦ Shutter Release button. In my Priority (S), Aperture Priority (A), opinion, this is the most important or Manual (M) modes. This button button on the camera. Halfway also doubles as a format button pressing this button activates the when you press it down in con- camera’s autofocusing and light junction with the Delete button. meter. When you fully depress this Pressing and holding down these button, the shutter is released and two buttons simultaneously allows a photograph is taken. When the you to format your CompactFlash camera is set to CL or Ch, pressing (CF) card without entering the and holding this button takes a Setup menu. sequence of photos. When the ✦ Exposure Compensation button. camera has been idle and has Pressing this button in conjunction “gone to sleep,” lightly pressing the with spinning the Main Command Shutter Release button wakes the dial allows you to modify the expo- camera up. When the image review sure that is set by the D700’s light is on, lightly pressing the Shutter meter or the exposure you set in Release button turns off the LCD Manual exposure mode. Turning the control panel and prepares the Main Command dial to the right camera for another shot. decreases exposure, while turning ✦ On/Off switch/LCD illuminator. the dial to the left increases the This switch turns on the camera. exposure. This button also doubles It’s concentric with the Shutter as the camera reset button when Release button. You push the used in conjunction with the Quality switch all the way to the left to turn button. Pressing these buttons at the camera off. When the switch is the same time restores the camera in the center position, the camera to the factory default settings.

05_413203-ch01.indd 6 11/14/08 9:24:33 PM Chapter 1 ✦ Exploring the Nikon D700 7

✦ LCD control panel. This displays quality of the JPEG if you are shoot- many of the main camera settings. ing that format. You can choose I cover this panel in detail later in from RAW, TIFF, JPEG, or RAW + this chapter. JPEG. Your JPEGs are saved at Fine, Normal, or Basic quality. Rotating ✦ Focal plane mark. The focal plane the Sub-command dial while press- mark shows you where the plane ing this button allows you to change of the CMOS image sensor is inside the size of the image when the the camera. The sensor isn’t exactly camera is set to save in TIFF, JPEG, where the mark is; the sensor is or RAW + JPEG. Rotating the Sub- directly behind the lens opening. command dial when the camera is When doing certain types of pho- set to save RAW fi les has no effect. tography, particularly macro pho- tography using a bellows lens, you For more information on image need to measure the length of the quality and size settings, see bellows from the front element of Chapter 2. the lens to the focal plane. This is where the focal plane mark comes ✦ ISO button. Press this button and in handy. rotate the Main Command dial to change the ISO sensitivity. The ✦ Hot shoe. You attach an accessory higher the ISO setting, the less light fl ash to the camera body here. The needed to make an exposure. The hot shoe has an electronic contact ISO value is displayed on the LCD that tells the fl ash to fi re when the control panel while the ISO button shutter is released. There are also a is pressed. The ISO value is also dis- number of other electronic contacts played in the viewfi nder. To learn that allow the camera to communi- more about ISO, see Chapter 2. cate with the fl ash to enable the automated features of a dedicated ✦ White Balance button. Press fl ash unit such as the SB-600. this button and rotate the Main Command dial to choose from one ✦ Release Mode dial. Rotating this of the predefi ned white balance dial changes the release mode of (WB) settings such as Daylight, the camera. You can choose from Incandescent, or Fluorescent. You Single shot, Continuous Low mode, can also choose to set your own Continuous High mode, Live View, WB (PRE) or choose a specifi c color Self-timer, and Mirror up. To rotate temperature (K). White balance the dial, you must press the is used to compensate for the Release Mode dial lock release. effect that different colored light ✦ Release Mode dial lock release. sources have on your photos. This button locks the Release Mode Adjusting the WB gives your images dial to prevent it from accidentally a natural look. When the D700 is being changed. set to a predefi ned WB, holding ✦ Quality button. Press this button the button and rotating the Sub- and rotate the Main Command dial command dial allows you to adjust to change the fi le format that your the WB by making it cooler (right) camera is saving in as well as the or warmer (left). For more on white balance settings, see Chapter 2.

05_413203-ch01.indd 7 11/14/08 9:24:33 PM