1 nikonownermagazine.com nikonownermagazine.com 1 OWNER RECOMMENDS

Martin Stones Gypsy Mother and Child.

“Taking images of people living in extreme poverty is never easy. No less so with this image of a Gypsy Mother and Child in central Transylvania. I was taken to a family home that was part of a proud gypsy village. The family make beautiful baskets for a living and this is their entire world; one room served as a kitchen, bathroom, bedroom and workroom. It initially felt very uncomfortable witnessing the poverty around me, which seemed to border on voyeurism, but I spent some time sitting on the earth floor with the older children, letting them use my camera and showing them the results. We had an empathy, a connection, one that you can only appreciate if you have respect and interest for one another. From that empathy came this image.”

Equipment: AF-S 18-105mm Nikkor f/3.5-5.6G ED Image taken at 18mm f/3.5 1/20 sec.

Martin Stones is a former Royal Marine with a lifetime interest and passion for photography and a genuine interest in other people’s lives and their surroundings. He has travelled extensively around the world, always with a camera to hand and a constant ambition to learn about and understand other cultures. He says, “Our landscapes, religions and cultures may be different, but fundamentally we are all the same, with similar aspirations”. As a photographer, he works hard to capture the image in camera and avoid post-production manipulation.

2 nikonownermagazine.com 2 CONTENTS MAGAZINE OF THE NIKON WORLD • ISSUE 68 • 2020

NAMIBIA AND A SAFARI THAT, 06 STRICTLY SPEAKING, WASN’T by John Archer-Thomson John Archer-Thomson and his wife Sally return to Namibia to complete an exploration of the northern part of country that they had been unable to finish in their original visit in 2015.

TURKEY – THE TRAVERTINE TERRACES 20 OF PAMUKKALE by Andrew Main Wilson The globe voyager Andrew Main Wilson visits The UNESCO world-heritage site of Pamukkale in Turkey. It is an area of extraordinary beauty that has attracted travellers for over 2,000 years.

THE DISCIPLINE OF PRIME NUMBERS 22 by R.J. Ellory The award-winning thriller writer R. J. Ellory makes a welcome return to Nikon Owner with his article on the benefits of using prime lenses. Front cover: 58mm f/1.2 Noct-Nikkor AIS lens by Tony Hurst

A NATURAL FISH TRAP by Heather Angel REGULAR FEATURES 34 When the revered natural history photographer Heather Angel was 02 N.O.RECOMMENDS examining her back-up external hard drives, she re-discovered an image 04 EDITOR’S LETTER she had not looked at for a long time. 46 TECHNICAL HELPLINE

A LEGEND REBORN: 58mm f/0.95 NOCT NIKKOR 36 by Simon Stafford Founders: Gray Levett & Uri Zakay The latest prime lens to be added to the Nikon Z-system is the Nikon Editor: Gray Levett Z 58mm f/0.95 S Noct; Simon Stafford takes a close look at this much Technical Editor: Simon Stafford Senior Features Editor: Gillian Greenwood vaunted lens. Sub-Editor & Technical Writer: Becky Danese Design & Art Direction: Jesse Wilson – Beyond Media Promotion & Regional Groups: Katrin Ruckert Social media management: Fotini Tasiopoulos Administrator: Katrin Ruckert THE TONY HURST GALLERY Forum Administrator: Andy Hewson 48 Words by Gray Levett Contributing Editors: Heather Angel, Becky Danese, R.J. Ellory, Gillian Greenwood, Gray Levett, Simon Stafford, The Nikon F Photomic was the first in a series of metered finders for the John Archer-Thomson, Andrew Main Wilson Nikon F. Tony Hurst captures this black-finish model fitted with an 85mm Contributing Photographers: Heather Angel, John Archer-Thomson, Becky Danese, Sophie Gooders, Tony f/1.8 Nikkor-H lens. Hurst, Cathy Jones, Pat King, Konstantin Kochkin, Gray Levett, Xamuel Rosales, Simon Stafford, Martin Stones, Andrew Main Wilson, Janet Williamson Special thanks: Tim Bates, Mike Clarke, Adrian Cochrane, Z 50 MIGHTY MINI-ME Becky Danese, Michael Eleftheriades, Anastasia Giakintzi, Jeremy Gilbert, Sophie Gooders, Andy Hewson, 50 by Becky Danese Konstantin Kochkin, David Lloyd, Anton Lorien, Veslyn McLean, The design office of Hiroshi Mizukami, Raffi Technical Writer Becky Danese reports on the newest addition to Silvanian, Paul Stillman, Fotini Tasiopoulos, John Nikon's new mirrorless Z system the DX format Nikon Z 50 with its Walshe, Uri Zakay accompanying lenses. Subscriptions: Tel: 020-7828 8971 Int: +44 20-7828 8971 10:00 a.m. – 5:30 p.m. GMT Monday to Friday Katrin Ruckert, Subscriptions Secretary, Nikon Owner 40, Churton Street, SW1V 2LP, Follow us on: MICHAEL PUTLAND: HIS GENERATION e-mail: [email protected] by Gillian Greenwood Website: www.nikonownermagazine.com 57 Twitter: www.twitter.com/nikonownermag Senior Features Editor Gillian Greenwood writes an appreciation of Facebook: www.facebook.com/nikonownermag Blog: http://blog.nikonownermagazine.com the famed music photographer Michael Putland, who passed away late © 2020 NOCI (Publishing) Limited. All rights reserved. No part of this magazine can be reproduced without prior written permission of the publisher. Nikon Owner last year. assumes no responsibility for unsolicited materials.

2 nikonownermagazine.com nikonownernikonownermagazine.commagazine.com 3 copy of 100 Years of Nikon with the compliments of the President of the Nikon Corporation Toshikazu Umatate.

It is a two-volume set enclosed in a heavy slip case. Charting the history of Nikon from its foundation in 1917 to the present day, these magnificent books contain 973 pages of colour and black & white illustrations together with many thousands of words. It is both a staggering achievement and an invaluable source of information.

WHERE LIES YOUR LANDMARK, SEAMARK, OR SOUL’S STAR? GERARD MANLEY HOPKINS (1886)

In 1977 my late wife Mally and I were living in one of a row of eight cottages at the Glen, also known EDITOR’S LETTER as Glen House, a Scots baronial masterpiece set CHRISTMAS AT A in a large estate NEW VENUE: comprising of a THE RAF CLUB ON farm and other PICCADILLY buildings in the Scottish Borders. It lay hidden in the hills. Following over a decade of The estate is a natural refuge of 18th century designed holding our annual Grand landscape of parkland and woods that sweeps up to heather Christmas Event at The moorland on all sides. The House, the farm and the cottages Institute of Directors on were built in the 19th century by the Scottish industrialist, Pall Mall, in December Charles Tennant. It was a magical place where all the last year we moved to a rhythms of life in the countryside were just outside one’s sumptuous new venue, The door and could be freely experienced through the changing Royal Air Force Club at 128 seasons as migrating birds returned from far-flung places, Piccadilly, London W1J 7PY. lambs began to scamper in the pastures, summer’s long As many of you will know, days reached further into the night, then the golden leaves we were very fortunate of autumn began to fall, sharp frosts once again painting to have two award- the landscape white before the first snows of winter fell. winning, highly distinguished speakers for My late wife and I had a beautiful black and white Border our special presentation, Neil Lucas and Michael Pitts. Neil Collie called Sam. We would go on long walks across the Lucas, celebrated photographer, director & filmographer, three and a half thousand acre estate along winding paths was a producer with the BBC’s world-renowned Natural through the trees, beside meadows and a nearby loch History Unit for over twenty years and Michael Pitts is where a long wind, carrying bird-calls in its wake, bounced widely regarded as one of Britain’s foremost underwater off the water’s surface. Living there for some time I found cameramen. The sold-out evening was a triumph and that I sometimes lost track of what day it was, what week judging by the overwhelmingly positive feedback we it was and sometimes what month it was. It was a world of received it ranks among the best we have produced. enchantment where stories of the blue folk who danced at night to the music of the wind and the trees We were also were whispered. honoured by the presence of the new My neighbours were mostly a mixture of artists, craftsmen President of Nikon and musicians, including former members of The Europe Mr. Tetsuya Incredible String Band. I loved living there and I met Morimoto and Vice some fascinating people. One never quite knew who President John might turn up. I recall, for example, The Chancellor of the Walshe. Morimoto-san Exchequer, The Right Hon Denis Healey, calling in to see presented me with me unexpectedly and inviting me down to number 11. a large two-volume We talked about books and photography. He was a keen photographer and used an Exakta Varex. HRH Princess g Gray & the President of Nikon Europe, Mr. Tetsuya Morimoto Margaret was also a frequent visitor to Glen House.

4 nikonownermagazine.com The first Christmas I stayed at to see them. I examined the Glen the English singer- one of the contact songwriter Vashti Bunyon came sheets and much to my with her husband and stayed for amazement and delight the holidays. She had released her I found some shots of debut album, Just Another Diamond Sam and me that Cathy Day, in 1970 which barely caused had taken so long ago I a ripple on the music scene. had forgotten all about Disappointed by this, she left the it. It is one of the joys music industry and moved to the of photography that Glen Row cottages, and much of the ensuing three decades one can relive again a were spent raising her children in rural Scotland. During moment in time and those years, entirely unknown to her, the original album share that experience slowly became one of the most sought-after records of its time. with others. Cathy It has sold online on Discogs1 for as much as $3,946.00. Then, Jones was and is a fine a few years ago, while surfing the internet, she says she was photographer and I am amazed to find that the music she'd given up for good was enormously grateful actually alive and well. In fact, Just Another Diamond Day and to her for preserving other early recordings were becoming cult classics to a new that particularly wonderful time in my generation of musicians, and in 2004, that album was reissued. g Gray & Sam In 2005, Bunyan released her first batch of new songs in 35 life on film. years on a thoughtful, bittersweet album called Lookaftering.

My wife died suddenly when I was 29 years old, which was MICHAEL PUTLAND 2 a life-changing experience. I felt I needed a clean break to - THE ROAD GOES EVER ON… get away from it all and so I packed up the contents of the cottage and moved to live in Los Angeles. It was as different an In closing, I would like to say a sad environment as one could possibly imagine. Alas, that meant and very fond farewell to the famed leaving Sam, my collie, behind. He went back to live with music photographer Michael Putland his mother on a lovely farm nearby with some good friends. who died on the 18th of November last Fortunately there were freshwater streams, fields and woods year. Michael began his professional for him to roam and adventure in. Some years later Sam too career in a studio in the basement died and it touched me more than I ever expected it might. of 40 Churton Street, and the likes From childhood onwards, my family had always had dogs but of Alice Cooper, Marc Bolan of T Rex, losing him stayed with me for a long time. Although I had a Slade, Andy Williams, John Peel and few photographs of Sam I never had one of the two of us. It many others spent time here in this was something I had always regretted. building. Michael Putland was one of my favourite photographers and one g Michael Putland & Gray of the sweetest, kindest men one could ME AND MRS (CATHY) JONES… wish to meet. Gillian Greenwood’s THE MISSING NEGATIVES appreciation appears on page 57.

A young woman called Finally, if there are some old images lying forgotten in some Cathy Jones lived in one part of your home, why not dig them out and bring them back of the Glen Row cottages to life – there is always a chance of discovering some magic during the same time- wherever you care to look. Until the next time, I wish you fair period and could often winds and following seas… be seen out shooting with her Nikkormat camera. She eventually migrated to London and I would see her occasionally. Recently her husband Rod called into my office carrying a black Paterson 35mm Gray Levett negative album. He Editor said that Cathy had 1 come across a file of Discogs (short for discographies) is a website and crowdsourced database of information about audio recordings, including commercial old negatives and releases, promotional releases and bootleg or off-label releases. contact sheets and 2 The Road Goes Ever On is a title that encompasses several walking songs that J. R. R. Tolkien wrote for his Middle-earth legendarium. g Cathy Jones thought I might like

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g Hoaba: , Nikkor 16-35mm lens, f/11, ISO 100, tripod

06 6 nikonownermagazine.com NAMIBIA AND A SAFARI THAT, STRICTLY SPEAKING, WASN'T.

By John Archer-Thomson

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g WalvisA Haitian Bay: Orphan Nikon D500, 80-400mm lens, f/10, ISO 400, hand-held

workhorse had worn the extra five years reasonably well, as had indeed the four passengers, but it There was no- was still top-heavy. one about and a

Our ultimate destination this time large sign on the was the Etosha National Park “ gate suggested that to the north but, just to throw any foreign spies off our scent, if you ventured we headed west to start with through it you towards the coast and Walvis g Walvis Bay: Olympus Tough, TG4, f/2.8, ISO 200, hand-held Bay. Here we spent a delightful would be savaged morning kayaking with Cape Fur Seals by carnivorous cats. Back in 2012, at least that is what (they were just swimming of course; we the camera’s EXIF data informs were in the kayaks). I didn’t trust my luck To add weight to me – I could have sworn it was a couple to hoist a Nikon D500 and 80-400mm zoom the threat to life of months ago – we (my wife Sally, a aboard this craft, so I settled for a splendid couple of friends and I) enjoyed a journey Olympus Tough TG4, which is water-proof, and limb there was exploring Namibia in a top-heavy Land freeze-proof, drop-proof and nuclear-winter a couple of adult “Rover. Readers might remember (Nikon proof instead. The young seals, born some Owner Issue 59) that our planned itinerary four months previously, were testing out cheetahs sitting was a touch optimistic and we had to their swimming skills and would gently settle for a fifty-percent reduction in nibble our paddles which was all very lovely nearby, dribbling achievement, limiting our endeavours to until we needed to row with them. The extra menacingly. the southern half of the country. In 2017 weight of a seal at the end of the paddle we returned to tackle the northern part made a smooth transit through the water a of our original schedule and hired the little challenging. These remarkable animals, very same vehicle. Our four-wheel-drive some 2 million of which are endemic to

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Confident that we were no longer being Our next, and final, destination before tracked by international assassins, we Etosha was rather an odd place. It was headed north. We stayed for a couple of a Cheetah Camp, where orphaned and nights at a delightful campsite at Hoaba injured animals were housed before where the pitches were so far apart you their rehabilitation and release back into could kid yourself you were out in the bush the wild (where possible). The welcome completely away from the rest of humanity; left something to be desired. There was however, the pool-side bar was still within no-one about and a large sign on the gate walking distance. There were walking trails suggested that if you ventured through to explore and at the ends of the day it was it you would be savaged by carnivorous a joy to experience the glorious light and cats. To add weight to the threat to life and roaring silence of Namibia’s vast landscape; limb there was a couple of adult cheetahs the tranquillity of the moment captured in sitting nearby, dribbling menacingly. the opening image was slightly sullied by Eventually a chap came to welcome us, the sound of a troupe of baboons helping but he lacked social skills to a degree that themselves to our food rations. made me wonder if he had mistaken us

Southern Africa, are able to dive to 1300 feet on a single gulp of air; who would begrudge such magnificent beasts a mouthful or two of paddle? I took many images that morning, but this is my favourite as there is a diagonal created by the paddle, and then the line of seals to the boats beyond. From these boats the eye is led to the left through a horizontal line of seals and maybe back to the beginning of the journey again. In other words, the composition invites the viewer’s eye through the picture which gives this still image a sense of movement. I also like the fact that the young seals are completely relaxed in our presence.

Walvis Bay is not uniformly attractive, unless you particularly like cranes, tankers, storage vessels and rectangular concrete dwellings that favour the minimalist design ethos. However, the lesser flamingos, herons, egrets, Caspian terns, common terns, g Hoaba: Nikon D750, plovers and Hartlaub’s gulls didn’t Nikkor 28-300mm lens, seem to object: the place was heaving f/6.3, ISO 100, hand-held with bird-life.

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extraordinary experience, but I’m sure the chap (of the couple) had put on some aftershave (Lynx? obviously) that made him irresistible to the animals and they licked him quite a lot. It all struck me as a bit unsavoury! There was a small terrier present who seemed to be upset that the cats were getting all the attention, so he rolled around on his back and did cute dog things to redress the balance.

With a final rather non-committal grunt from our Cheetah Camp host, which we interpreted positively as an emotionally charged, virtually tearful goodbye, we headed north and finally arrived at Etosha. We were in a suitably excited pre-safari state, looking forward to game viewing and photography in abundance.

The term ‘safari’ refers to a journey; a cross-country expedition on foot or in vehicle (Shorter Oxford English Dictionary, Volume II, N-Z). I have

for the bailiffs. Socially adept he might not merrily on a dusty track. To be polite, let have been, but he was obviously very good us say that the D750, with that lens on with the animals; he took pains to show it, is a great landscape camera! However, us various compounds where a variety of despite the alarmingly slow, continuous unfortunate cheetahs were convalescing. high-speed shooting rate, I did manage a They all seemed to be progressing well. reasonable shot. Meat was hurled towards expectant recipients and I thought it would be fun While we were at the Cheetah Camp, we to try to photograph the meat ‘in-flight’ met a couple who had visited the venue before the cheetah grabbed the offering a great many times before; it might have and ran off into the undergrowth to feast. been hundreds. There were two cheetahs Unfortunately, my D500 had too large (the aforementioned dribbling ones) a zoom on it (80-400mm) so I opted for that had been hand-raised and were my D750 with 28-300mm instead; I was about as friendly as a wild carnivore reluctant to try to change lenses from the is likely to be. We said hello to them back of a moving vehicle, bouncing around and got extremely close, which was an

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been fortunate to enjoy a number of driven over each other to give their these over the years, but they are a clients the best views of leopard had the There was a variable commodity. As the definition vehicles been suitably equipped. There small terrier present suggests, a safari involves movement are, of course, other approaches where of some form. Perhaps one of the more the drivers proceed slowly, carefully and who seemed to be extreme interpretations of the genre with utter respect for the wildlife they “upset that the cats was presented to us in Bhandhavgarh, encounter. A common denominator to Northern India where we hoped to see all these examples is that the drivers are were getting all the and photograph tigers. The Park rules desperate to do their very best for their attention, so he stated that the safari jeep drivers had passengers, perhaps their enthusiasm rolled around on his to follow a prescribed route around the could be tempered ever so slightly on reserve before they could venture off occasion. back and did cute onto alternative tracks. The net result dog things to redress of this policy was something akin to Well this time, in Etosha, we thought ‘Whacky Races’. As all the drivers were we would try something different. The the balance. unleashed from the formalities of the Okaukuejo Rest Camp, where we spent a main entrance gate, they tore around the few days, has an excellent watering hole g Left: Cheetah Camp: Nikon D750, approved route at breakneck speed until with an amphitheatre of viewing seats for Nikkor 28-300mm lens, f/6.3, ISO 800, they had completed the course; only then guests. We decided to take up residence hand-held did they slow down and check to see if here and wait. g Bottom left: Cheetah Camp: Nikon they had any passengers left with which D500, Nikkor 80-400mm lens, f/11, ISO to enjoy game-viewing. In Yala, Sri Lanka This proved to be a good strategy. Rather 640, hand-held recently (just before the bomb madness), than continually moving around in I think the safari vehicles would have search of game we simply waited for it

g Etosha, Okaukuejo: Nikon D500, Nikkor 80-400mm lens, f/11, ISO 400, hand-held g Below: Etosha, Okaukuejo: Nikon D500, Nikkor 80-400mm lens, f/8, ISO 6400, hand-held

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g Etosha, Okaukuejo: Nikon D750, Nikkor 28-300mm lens, f/5.6, ISO 800, hand-held

One thing the waterholes, at “Okaukuejo and Halali, did not yield was an abundance of carnivores. I don’t g Etosha, Okaukuejo to Halali: Nikon D500, Nikkor 80-400mm lens, f/11, ISO 200, hand-held know if this was just to come to us. This gave us the time to to the Acacia tree to the left of the main bad luck on our part. wait for photographic compositions to water body. I even managed a quick four- materialise as the animal formations shot sequence which I stitched together We did encounter continually shifted, presenting new to show a panoramic view of the whole, a small group of patterns all the while. We became more herbivore-packed vista that manifested aware of the changing nature of the before my disbelieving eyes. lions on our journey light and how to adapt our photography between camps, accordingly. (See in particular the shot The water-hole was spot-lit at night. The of a group of elephants with low, orange, last time I visited Etosha I was using but they remained evening light hitting their legs.) slide-film and shots of the animals, in frustratingly faithful near darkness, were promptly consigned Early morning was particularly beautiful. to the nearby rubbish bin as I looked, with to their vantage I watched how the ebb and flow of the increasing dejection, at the results when point behind a flock of red-billed quelea presented I got home. This time, with a D500 on the different configurations with respect case, I took shots at ISO 40,000 and was clump of bushes!

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giant inland lake. The picture looking north giraffe have a drink and then shake to the Pan is enhanced by the pattern of his head to get rid of excess moisture (I Springbok in the foreground. The animal assume). I hoped this would happen again nearest the camera fills the gap nicely and was pleased with the sinusoidal shape between those behind, and those in turn the water trail produced, backlit as it was form a loose ellipse which leads the eye off by the evening light. into the distance and the expanse of the Pan to the horizon. Eventually, and reluctantly, we were forced to start our journey south again to honour The water hole at Halali was a modest our commitment with Air Namibia. We affair but very attractive in its setting. headed west to Okaukuejo once more as it Unlike Okaukuejo, where you could see the was to be our point of egress from Etosha. game coming for miles, here there were Just before we left the National Park, at the trees and bushes around the area which Anderson Gate, we decided to have a look added an element of surprise as to what at one more water hole. I think we were might appear next. The shot of the giraffe officially water hole junkies by this point. shown from here extols the benefits of watching and waiting. I had seen the Good decision.

g Etosha, Okaukuejo to Halali: Nikon D500, Nikkor 80-400mm lens, f/8, ISO 200, hand-held

more than delighted (astonished) at the quality of the results.

After a few delightful days at Okaukuejo we moved east to a less well-known camp called Halali. On route we did stop when we saw features of interest, so I guess this was proper safari behaviour. Once again though, by stopping at water holes on the way, we were able to wait for the animals, the red hartebeest shown on the opposite page, for example, to adopt a suitable formation (almost equidistant, with the little chap near the rear looking at the camera). One thing the waterholes, at Okaukuejo and Halali, did not yield was an abundance of carnivores. I don’t know if this was just bad luck on our part. We did encounter a small group of lions on our journey between camps, but they remained frustratingly faithful to their vantage point behind a clump of bushes! On this journey we skirted the southern flank of the Etosha Pan, a dried-up remnant of a

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We all sat in stupefied silence at the Our Waterberg Camp was near an area g Etosha: Nikon D500, ridiculous number of animals around where a pair of Rhinos were being hand- Nikkor 80-400mm lens, f/16, ISO 200, hand-held this feature. Once again we waited reared after an early life trauma. It was for patterns to form; three elephants, lovely to get close-ish to such beautiful decreasing in size from back to front? animals, but I couldn’t help feeling that the Check. Bull elephant, with zebra for individual pictured looked a trifle bored/ scale? Check. I can say that we saw so sad? I longed to remove the acacia thorn many elephant on this adventure that we lodged behind the main horn but resisted almost got blasé about them. Almost. the urge in the interests of personal survival. Then I remembered that in the 1930s there were an estimated 10,000,000 On our last night under the Namibian stars animals, over 37 countries in Africa, I decided it was time to try some Milky Way now there are thought to be fewer than photography. When photographing the 500,000. Congratulations Homo sapiens, night sky, if you wish to avoid star trails another cracking example of planetary then it is a good idea to keep your stewardship. So blasé about elephants? No. time to less than about 30 seconds. My exposure was thus: 30 seconds, f/5.0, ISO Before returning to Windhoek for our 3200. This did the trick. I can’t quite decide flight home we made one more stop at whether the camp lights make or ruin the the Waterberg Plateau. The shot of the picture. campsite shows the general set-up with trusty Land Rover and roof tent, occupied I suspect there is no correct answer. Then by our travelling companions, and for a change I thought, let’s have some star Sally’s and my ground tent exclusively motion after all so I changed the ISO to 100, for us and any passing baboons that for best quality and minimal noise, and that took a fancy to our soap bars! Yes really, left an exposure time of 15 minutes at f/5.0. they love them. We had to repel borders I can’t decide which I prefer. It might be a with loud pot-and-pan percussion bit like choosing a favourite amongst one’s demonstrations at one point. All food and offspring. Technically I suspect they are toiletries had to be locked inside the Land both flawed; night photography aficionados Rover whenever we were out of camp! are probably suffering palpitations as

Strive for perfection as a (long- “term?) goal but enjoy the process. Enjoy the photography. There has never been a time when there are so many excellent cameras and lenses out there to play with; make the most of the opportunity.

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they avert their eyes in horror, but here is the point. Digital capture has given us camera-wielding beings total freedom to experiment and have fun with our photography like never before (note the panorama picture at Okaukuejo, hand- held, with moving animals: that shouldn’t have worked!). Don’t be put off by the fear of getting it wrong. Have a bash, look at the result, tweak the result if necessary, ask some advice if necessary (or at least a second opinion). Strive for perfection as a (long- term?) goal but enjoy the process. Enjoy the photography. There has never been a time when there are so many excellent cameras and lenses out there to play with; make the most of the opportunity.

g Far left: Etosha, Halali: Nikon D500, Nikkor 80-400mm lens, f/8, ISO 400, hand-held g Right: Etosha: Nikon D500, Nikkor 80-400mm lens, f/11, ISO 200, hand-held

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g Waterberg camp: Nikon D750, Nikkor 16-35mm lens, f/4.5, ISO 3200, tripod

g Etosha: Nikon D500, Nikkor 80-400mm lens, f/11, ISO 200, hand-held

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As for Namibia, I have been there 5 times. Is this enough? I suspect not. I have been to g Waterberg: Nikon D750, Nikkor Skomer Island off the Pembrokeshire coast 16-35mm lens, f/5, ISO 3200, tripod (south-west Wales, UK) about 350 times and came away this year with better shots of some of the birds than ever before.

The island never looks the same because it isn’t. You can’t go to the same place twice because everything changes and on that philosophical bombshell, I will leave you until the next article which will probably be about Buddhas and birds in Sri Lanka. +

+ DEFINITIONS Sinusoidal: having the form of a sine curve.

+ PHOTOGRAPHIC DETAILS Throughout this trip my AF-S Nikkor g Waterberg: Nikon D750, Nikkor 80-400mm f/4.6-5.6G ED lens remained 16-35mm lens, f/5, ISO 100, tripod anchored to my D500 camera. On my D750 I used either the AF-S Nikkor 16-35mm f/4G ED or AF-S Nikkor 28-300mm f/3.5- 5.6G ED as conditions dictated. I changed lenses as rarely as possible in the dusty, desert conditions.

Readers might be interested to know that Photographing Pembrokeshire by John & Sally Archer-Thomson, available as an Apple iBook, has recently been updated. If you would like to see more images from John Archer-Thomson try Flickr.com/ photos/johnat.

16 nikonownermagazine.com nikonownermagazine.com 17 17 VERSATILITY MEETS AGILITY

From fast-moving action to rich 4K HDR video, the new Nikon D780 helps your vision take flight. Its unique combination of autofocus systems offers the best of both worlds. Optical viewfinder shooting gives you fast and accurate AF with flagship tracking capabilities. Whilst live view shooting brings all the advantages of focal-plane phase-detection AF technology, including eye-detection AF and 273 focus points. Combined with speeds from 1/8000 to 900 seconds, and advanced video and time-lapse features, the D780 embodies true versatility.

24.5 MP | ISO 100-51200 | 51-POINT AF | 273-POINT HYBRID AF | 4K UHD, HDR (HLG) VIDEO

For more information visit www.nikon.co.uk 18 nikonownermagazine.com VERSATILITY MEETS AGILITY

From fast-moving action to rich 4K HDR video, the new Nikon D780 helps your vision take flight. Its unique combination of autofocus systems offers the best of both worlds. Optical viewfinder shooting gives you fast and accurate AF with flagship tracking capabilities. Whilst live view shooting brings all the advantages of focal-plane phase-detection AF technology, including eye-detection AF and 273 focus points. Combined with shutter speeds from 1/8000 to 900 seconds, and advanced video and time-lapse features, the D780 embodies true versatility.

24.5 MP | ISO 100-51200 | 51-POINT AF | 273-POINT HYBRID AF | 4K UHD, HDR (HLG) VIDEO

For more information visit www.nikon.co.uk 18 nikonownermagazine.com nikonownermagazine.com 19

Andrew Main Wilson’s

Adventure The Long & Winding Road Across The World

Andrew Main Wilson’s epic photographic odyssey continues as he travels epicto every one of the world’s 200 countries. In this series Andrew captures the essence of each country in one iconic image.

Turkey – The Travertine Terraces Of Pamukkale

The UNESCO world heritage narrow path which winds ‘cotton castle’ terraces I’ve site of Pamukkale, which its way along the terraces, seen anywhere in the world. means ‘cotton castle’ in Turkish, turning the site into a scene Turkey offers a magical ranks first equal with the resembling a summer’s and varied selection of world fairy-tale rock chimneys of afternoon at your local wonders, which you can Cappadocia, as my favourite swimming pool. So I used the comfortably combine in a photographic subject in Turkey. afternoon to scout the best 10-12 day itinerary. Most Stretching over a mile wide, locations and camera angles, roads are excellent and fairly the terraces have attracted then waited patiently until empty, once you drive out travellers to its thermal the coach tours and buses had of Istanbul and Izmir and waters for over 2,000 years. all departed. travelling independently The snow-white limestone Once Pamukkale had by hire car gives you much Brad Pitt ‘Troy’ Hollywood movie. pools have been created over deservedly achieved its greater shooting flexibility, by 200 kilometres south centuries, by mineral-laden UNESCO World Heritage site enabling you to avoid peak- of Troy lies the 3,000 year- water dripping down the status, eyesore hotels which time tourist crowds. old city of Ephesus, with mountain and settling, then had been siphoning off the I started my Turkey Odyssey the magnificent façade of spilling over stalactites mineral water for its in Istanbul, shooting the Blue the Library of Celsus as its into milky, miniature own swimming pools Mosque, Hagia Sophia and highlight. A further 200 ponds. Travertine were removed and the mesmerising Sunday kilometres east of Ephesus lies is a sedimentary the splendours of this evening performance given Pamukkale and I recommend rock, created from site were preserved for by the Whirling Dervishes. I breaking the journey to calcium carbonate rich the future enjoyment of then headed 300 kilometres admire the extraordinary hot springs water, and travellers from all over the west to the very moving First marble sculptures of the pools and white walls world. Today the conservation World War Australian, New Aphrodisias, 70 kilometres glow warmly in the evening challenge focuses on trying Zealand and Turkish soldier west of Pamukkale. sunshine. to ensure the huge volume cemeteries at Gallipoli. I drove 650 kilometres east of Despite its relative of sightseers does not cause on to the famous ruins of Troy Pamukkale I drove into remoteness, 580 kilometres irreparable damage to the and admired both the Wooden another extraordinary world south of Istanbul and 370 delicate ecosystem of the Horse of Troy on site and the – the fairy-tale rock chimney kilometres north-east of the terraces and their flowing alternative Wooden Horse landscapes of Cappadocia, port of Bodrum, hundreds of waters, which are the most of Troy, on the waterfront at yet another of Turkey’s truly tourists each day crowd the magnificent examples of Çanakkale, as featured in the world-class travel wonders.

20 20 nikonownermagazine.com AMW

Pamukkale is a perfect to this dramatic landscape. emperor Hadrian. Superbly panoramic location to In stark contrast, I also shot Edge to restored, it’s easy to imagine showcase the superb quality compressed perspective edge image the drama and spectacle of Nikkor 14-24mm super images of the pools and definition was a Roman-era performance, wide-angle zoom. Shooting at terraces at 400mm on my razor-sharp at f/5.6... almost 2,000 years ago. 20mm, I was able to capture Nikkor 80-400mm zoom. The relatively weak Turkish the sweeping contrast of Pamukkale can provide Lira, against the Pound, Euro bright blue sky, bleached you with vastly different the gates of Pamukkale and and Dollar, meant hotels, white limestone, milky experiences at different times once again, for a magical half- restaurants and souvenirs pools and green countryside of the day. Mid-afternoon hour, I had the site all to myself. represent excellent value for foliage. Edge-to-edge image photography was unrewarding, As more tourists began to money, particularly compared definition was razor-sharp due to the sheer volume of arrive, I noticed the terraces to other European holiday at f/5.6, although you need to tourists, so I waited patiently were overlooked – physically destinations. Turkish Airlines be careful not to scratch the until the sun began to set, by and metaphorically – by the now fly to more countries than lens coating, since its convex which time I was able to enjoy ancient city of Hierapolis. any other airline, meaning shape inevitably prevents any the path and the pools virtually As all the visitors flocked direct access into Istanbul is filter attachment. The elegant all to myself, bathed in glorious towards the terraces, I now fast and convenient, from Chinese model, posing in the technicolour light, during that climbed up to the magnificent over 100 countries. + pool, naturally leads your eye golden half-hour before sunset. 15,000 seat capacity Roman into the centre of the image The following morning at amphitheatre, built in the 2nd Equipment: + and provides a sense of scale sunrise, I was the first to enter Century AD, under the Roman Nikkor AF-S 14-24mm f/2.8G ED

20 nikonownermagazine.com nikonownermagazine.com 21 21 g Nikon D850 + 24mm f/2.8D AF 80th sec. f/5.6

...one of Capa’s most famous quotes: ‘If your pictures aren’t good enough, you’re not close enough’.

22 nikonownermagazine.com 22 THE DISCIPLINE OF PRIME NUMBERS By RJ Ellory

Robert Capa (born Endre Ernö Friedmann, October 22, 1913) craft of reportage to this day. Even now, the Robert Capa was a Hungarian Jew who was expelled from his native Gold Medal is one of the most sought-after and revered homeland at the age of seventeen for Leftist agitation. accolades for any photographer working in this field. However, the subject of this article is not Capa himself. I From there he made his way to Berlin, only to find that give this brief biographical reference merely as context for Germany – with the rise of Fascism – was not altogether one of Capa’s most famous quotes: ‘If your pictures aren’t welcoming. On from Berlin to Paris he went, and there he good enough, you’re not close enough’. talked his way into employment at a photographic studio. He learned how to use a camera, and with limited French I also want to take a moment to talk about the life and and no Spanish he headed to Spain to cover the civil war. work of Harold Feinstein, perhaps one of the greatest Capa’s remarkable life – which can be discovered in a unsung heroes of social commentary and street tremendous book by Richard Whelan (‘Capa’, published photography. There exists a fascinating and inspirational by Alfred A. Knopf, New York 1985) – is legendary for documentary about Feinstein entitled, ‘The Man Who so very many reasons. Not only did he have a long and Shot New York’. Born in April of 1931 on Coney Island and passionate affair with Ingrid Bergman, he was also the living to the ripe old age of eighty-four, Feinstein was a first photographer ashore with US GIs on D-Day. Travelling documentarian, reporter, portraitist, innovator, artist and with French forces into Vietnam in the early ’50s, Capa all-round genius. Perhaps most widely-known for his New stepped on a landmine and was killed. He was just 40 York City and Coney Island street photography, Feinstein years old. Nevertheless, despite the unlikely beginning – almost as a second career – was also engaged in work of and remarkable brevity of his professional career, Capa such significance in the field of digital photography and demonstrated a photojournalistic skill that not only scanning that he was granted the Smithsonian Award in defined and dictated his own life, but also influenced the 2000 for his innovative and revolutionary breakthroughs.

22 nikonownermagazine.com 23 nikonownermagazine.com 23 g Nikon Df + 35mm f/2D AF 250th sec. f/16 g Right: Nikon D850 + 24mm f/2.8D AF 320th sec. f/9

Again, I give this brief biographical précis merely for he waded toward the Normandy beach amidst the context, for here is a very apropos quote from the man shells and gunfire. No zoom lenses. No autofocus. himself: ‘Let your photography be the way in which Awkwardly threading rolls of film onto sprockets, you discover this world, this life, your own self’. manually inputting ISO ratings, and then carrying those exposed rolls of film out of war-torn countries As a final reference in this preamble, I give you the words with soldiers and officials trying desperately to of Robert Frank: ‘There is one thing the photograph prevent the images they had captured from reaching must contain: the humanity of the moment.’ the world. Even in the heat and fury of battle, McCullin was known for producing a hand-held light And so, to the reason for this article. I think of the meter and methodically gauging exposure before photographers by whom I have been inspired. I grew he even raised a camera to his eye. It was those very up in the ’70s with the Sunday Times magazine. I photographers and the images they produced that saw the work of Lichfield, Snowdon, Bailey, Norman first inspired my interest in photography, an interest Parkinson, Terry Donovan, Larry Burrows and Don that – very quickly – became a lifelong passion. McCullin, to name a few. I remember images of McCullin in Vietnam, helmeted and uniformed, What I am trying to highlight here is the notion of around his neck a collection of cameras, each body engagement; connection; reality. These people were bearing a different lens: a 135mm, a 50mm, a 24mm. not detached observers, but involved eyewitnesses. Then there was Bailey, an iconic character who – They weren’t spectators, but participants. Even Bailey, even now – represents the swinging sixties, his work a great deal less environmentally challenged than with Jean Shrimpton and Penelope Tree serving to the likes of McCullin, nevertheless wholeheartedly revolutionise the long-established John French- participated in the life that he photographed. style industry standard for fashion photography. Feinstein, who began taking pictures with a Of course, there are thousands of outstanding borrowed Rolleiflex, went on to sell his photographs photographers who – regardless of the equipment to the Museum of Modern Art, one of which was they’ve used – have produced astonishing bodies of taken when he was just fifteen years of age. And work. Whether you carry a Box Brownie or a Nikon Capa, of course, with his Leica in a waterproof bag as D850, the image is made not by the machinery, but

24 nikonownermagazine.com 24 THE DISCIPLINE OF PRIJME NUMBERS RJ ELLORY:

24 nikonownermagazine.com 25 nikonownermagazine.com 25 THE DISCIPLINE OF PRIJME NUMBERS RJ ELLORY:

26 nikonownermagazine.com 26 by the human being. ‘You don’t take a photograph, And thus – forgiving this preamble – we arrive at you make it’, Ansel Adams said. His words, so the ‘discipline of prime numbers’. much more succinct than mine, communicate this philosophy precisely. With many modern digital cameras, whether they be SLRs or point-and-shoot models, the standard lens Nowadays, we are all photographers. With the advent tends to be a zoom. The immensely popular 24-70s, of the internet and digital photography, a picture the 16-35s, and now – with optical technology at a can be taken and disseminated instantaneously never-before-imagined zenith – a 28-300 can provide to millions at the touch of a button. But one not only a fantastic focal range, but images of such picture does not equal another picture. Why does stellar precision and definition that one would be one image generate a million ‘likes’ and another hard-pressed to find fault. go unnoticed? Surely, it has to have something to do with engagement of the viewer. It has to have But a moving lens encourages a static photographer. something to do with emotion, with feeling, with A zoom lens does not demand action and connection, with humanity. I think of art as a whole, engagement, and thus – in so very many cases – the for photography – though resisted as an artform for resultant image is one with which the photographer a long time – is indeed art. With Edward Steichen’s has not been personally and intimately involved. Or, groundbreaking ‘Family of Man’ exhibition at the at least, not as personally and intimately involved as New York Museum of Modern Art in 1955, the abiding they could have been. consensus that photography was not ‘art’ in a pure sense, was somewhat dismantled. I am not merely Additionally, the extra moment or two that it takes to crediting Steichen and the featured photographers, change a lens requires that one consider the absolute of course, but all those who worked so very hard to necessity of changing the lens. True, a 35mm would realise a social awareness that photography was, require a significant shift in location to encompass in fact, ‘writing with light’. Taking pictures is an the view achieved with a 24mm, but how many times artform, and – ironically now – perhaps the most have we then cropped the image we snapped with participatory artform in history. It is certainly the a 24mm? Conversely, while an 85mm prime might most accessible, available and popular. provide an f-stop of 1.4 and the most gorgeous bokeh,

g Left: Nikon D850 + 35mm f/2D AF 1/25th sec. f/8 g Nikon Df + 24mm f/2.8D AF 500th sec. f/11

26 nikonownermagazine.com 27 nikonownermagazine.com 27 that same image could be taken with a 50mm if one places, everywhere from the south of France to was proportionately closer to the subject. Istanbul, Nashville to New Zealand. Pre-digital, I carried an F4S with a selection of lenses. Nowadays, The 35mm focal length seems to be a staple for street having used a Df and now a D850, I carry a Nikkor photographers. Lightweight, unobtrusive, wide 24-120 G and a 16-35 G. Between them, that’s close enough to deal with most situations, yet narrow to one and a half kilos (just over three pounds in enough to demand the photographer’s presence in old money). With the camera body, you’re adding the equation. And what equation is that? Proximity half as much weight again. I’d have one lens in situ, + engagement = emotional impact, perhaps? the other in a shoulder bag. After an hour or more of trudging through Montreal in the minus teens, For me, there is a practical aspect, too. As a result of rarely having used anything beyond the parameters the endless trips I make around the world for book of 24mm-35mm, I would – once again – ask myself festivals, I see a remarkable variety of fascinating why I carried so much hardware. They were not discreet, either. If you put a 24-120 zoom lens in someone’s face, they sure know about it. I left the zoom at home. I headed out with a lens It was this sort of experience – repeatedly – that led me in the direction of an experiment. light enough and small enough to put in my coat pocket: a I left the zoom at home. I headed out with a lens light enough and small enough to put in my coat 24mm, a 35mm, a 50mm, even pocket: a 24mm, a 35mm, a 50mm, even an 85mm. an 85mm. Just one lens, mind. I Just one lens, mind. I didn’t carry a bag or a or a tripod, or any of the other many and varied add-ons didn’t carry a bag or a flash or a that make life a little easier. I am advising you to tripod, or any of the other many do the same. Choose a topic if you wish, or just walk somewhere, drive somewhere, go to the supermarket, and varied add-ons that make take a wander through the town or city centre, and work to find some photographs. If the lens you’re life a little easier. I am advising using does not facilitate the composition you prefer, you to do the same. then move your body. Walk away, get closer, lie on

28 nikonownermagazine.com 28 g Left: Nikon Df + 24mm f/2.8D AF 200th sec. f/9 g Nikon D850 + 50mm f/1.4D 250th sec. f/8 THE DISCIPLINE OF PRIJME NUMBERS RJ ELLORY:

28 nikonownermagazine.com 29 nikonownermagazine.com 29 the ground, climb on something – whatever needs equipment that – to us – would be entirely unwieldy to be done to get the best shot you can with the and challenging. equipment you have. You will get the shot you want, or maybe you will get a shot you didn’t expect – To be frank, we are spoiled with technology. I have something that would never have happened had you a builder friend, a true perfectionist and a master been fifteen feet away and at the far end of a 120mm. craftsman. He shows up with an old canvas holdall, a And as for invading the privacy and personal space tape measure, a stepladder and a carpenter’s pencil. of people, just ask them. You’ll be surprised to find He has worked on every house I have ever owned. He that it’s a very small percentage of people who will can do everything from replacing a roof to plumbing refuse you. Of course, there are laws. In France it is in a bathroom to resolving the subsidence of an part of the Civil Code that the person themselves entire building. He is called out to some houses owns the right to their own image. You cannot where a DIYer has drilled through a water pipe while take their picture and put it in the public domain putting up shelves. The DIYer has the right boots, the without their permission. But in other countries the right protective goggles, state-of-the-art drills and laws are not so rigorous. However, that laxity should screwdrivers, a hand-stitched hide tool belt, laser not then excuse you from asking your subject if they measures and a two hundred pound spirit level, and mind. The mere fact of talking to them will – more yet they have failed to check a basic: When you drill often than not – give you a personal connection that into a wall, what are you actually drilling into? results in a more engaging and human image. My friend uses an expression – ‘All the gear, no And every time you think, ‘I wish I’d brought the idea’. As a musician, I run into people all the time zoom…’, take a moment to remember the Vivian who honestly believe that a more expensive guitar Maiers and Harold Feinsteins and Henri Cartier- will make them a better player. A Mont Blanc Bressons of the world: photographic luminaries Meisterstuck fountain pen does not make you a who worked with rangefinder cameras, fixed focal better novelist. A better calculator does not make length lenses, slow monochrome film, natural light, you a better mathematician. It’s the same for any and – in some cases – the limitations of manual technical subject. You know the basics or you developing and printing techniques. And yet, you don’t. And if you don’t know the basics, there really only have to take a moment to view their work to is only one way to learn. By doing. I think of the appreciate that they accomplished miracles with writer, Ernest Hemingway. He said, ‘It’s none of their equipment that now seems so archaic and outdated; business that you have to learn to write. Let them

30 nikonownermagazine.com 30 As a musician, g Left page: Nikon D850 + AF-S 85mm f/1.8G 320th sec. f/9 I run into g Nikon D850 + 24mm f/2.8D people all the time AF 400th sec. f/10 who honestly believe that a more expensive guitar will make them a better player. THE DISCIPLINE OF PRIJME NUMBERS RJ ELLORY:

30 nikonownermagazine.com 31 nikonownermagazine.com 31 g Nikon D850 + AF-S 85mm f/1.8G 60th sec. f/4 g Right below: Nikon D850 + 24mm f/2.8D AF 400th sec. f/10

32 nikonownermagazine.com 32 think you were born that way.’ And Picasso: ‘I am comparison between an autobiography and a piece of always doing that which I cannot do, in order that I journalism. One of them is me, the other is what I see. may learn how to do it’, and ‘Inspiration exists, but it They can be the same thing, but so often they are not. has to find you working.’ It’s in the activity itself that one truly masters the basics, and without the basics And there is yet another benefit. Make these nothing can be built. demands of yourself, and then the facility of a zoom lens becomes all-the-more valuable. I remember Your photography is a reflection of your existence. going camping as a child. A couple of weeks in a Look at an Instagram account. Often you can witness tent completely changes your viewpoint about the day-to-day activities and experiences of an comfortable mattresses and hot running water! A individual. The words of Paul Strand come to mind: month with nothing but a 50mm will change your ‘Your photography is a record of your living for photography completely, and – I have no doubt – anyone who truly sees.’ for the better.

But if you are distant and disconnected, then one So, there we are. The Discipline of Prime Numbers. must ask whether the photographs you take are A simple idea. A simple recommendation. Step a reflection of the life you are living, or merely a outside your comfort zone and see how much

running record of those things you have objectively life you can capture. You just might find that life THE DISCIPLINE OF PRIJME NUMBERS witnessed. You could perhaps make a similar captures you in return. + RJ ELLORY:

32 nikonownermagazine.com 33 nikonownermagazine.com 33 ANGELEYES BY HEATHER ANGEL

Our first game-watching trips to Africa were always spent in East of this seasonal bonanza enabling them to feast without Africa, probably because we knew Nairobi. Once we discovered expending a great deal of energy. Botswana in 1997, this became our favoured destination, simply Then, early one December our guide spotted pelicans and storks because the lodges catered for only a few guests. flying purposely in the same direction; his reaction was ‘I bet The regulations allowed only two vehicles to park to view they are looking for a fish trap’. Weaving our way amongst any big cat, so if a third one arrived, the first had to pull out. termite mounds, we kept looking skywards to check we were still A further six trips to Botswana never failed to disappoint, following the birds. Suddenly, with no birds in sight, the driver providing interesting wildlife behaviour, as well as new insects drove up onto a grassy ridge to gain some extra height and wherever it was safe to get out of the jeep to explore on foot. there was the shrunken pool with an unbelievable array of bird species. Whilst I was frantically shooting and swapping lenses, Recently, I have been going through my back-up external hard drives my husband Martin and our guide were busy identifying all the re-discovering images I had not looked at for decades – including birds with binoculars, reaching a final total of 35 species. These the image I have chosen to write this story behind the shot. included white and pink-backed pelicans, marabou, yellow- A NATURAL FISH TRAP (2000) ______billed and woolly necked storks, wattled crane, pied kingfisher, whiskered and white terns, goliath and grey herons, hamerkop Anyone who has been on safari knows the best way to find and yellow-billed kite plus many others. carnivores on a recent kill is by spotting vultures circling above a carcass. Carnivores feed year-round, so this behaviour can be After getting several shots of the massed birds, I noticed how seen at any time of year. A spectacular seasonal event also occurs size did not matter – small birds were feeding beak by bill in Botswana’s Okavango Delta. Pin-pointing the locations is a alongside large pelicans and storks. This does not occur when matter of luck but can be discovered when different kinds of large birds feed on their own. piscivorous birds are spotted flying overhead. Few people know A fish eagle was a late arrival to the party, putting on a terrific about this phenomenal event. show with a flight trajectory aimed to skim close to the water Each year, the Okavango Delta floods in the dry season. Rains with outstretched feet ready to grab a fish mid-flight. The only that fall in the Angolan highlands during the summer take snag was that it must have been distracted by the melee of fish several months to make their way down to the Okavango River and birds, because it fluffed the catch before landing on the and flood the unique inland delta. The peak of this flood is poolside. Unphased, it strutted towards a yellow-billed stork and erratic because the timing of the local rain and the arrival of the poached the fish just caught in the bill. floodwater can be out of sync from any time between two and It was hard to keep up with the frenetic sequence of fleeting six months. Fish carried with the flood end up in the Okavango cameos unfolding before our eyes. Within an hour, the feast was River and feeder streams. The flood water not only soaks into over and most of the birds had left – apart from pelicans that the parched ground, but also continues to evaporate over several were far too bloated to take off. + months until fish stranded in depressions have nowhere to escape from ever-shrinking pools. As the water level drops, these natural fish traps suddenly provide an unimaginable feast for so many birds towards the end of the year. Follow Heather on Twitter: @angelantics On previous trips, we had arrived after the banquet was over with a few bloated pelicans marooned on the poolside. We had Follow Heather on Instagram: @heatherangelphotography no concept of the large number of species taking advantage

34 34 nikonownermagazine.com HA

g A host of piscivorous birds converge to feast in a natural ephemeral fish trap in the Okavango Delta, Botswana when water levels have dropped months after the flood, 4th December 2000, Nikon F5 with Nikkor AF 80-400mm f/4.5-5.6D VR lens on Ektachrome 200

A fish eagle was a late arrival to the party, putting on a terrific show with a flight“ trajectory aimed to skim close to the water with outstretched feet ready to grab a fish mid-flight. The only snag was that it must have been distracted by the melee of fish and birds, because it fluffed the catch before landing on the poolside. Unphased, it strutted towards a yellow-billed stork and poached the fish just caught in the bill.

34 nikonownermagazine.com nikonownermagazine.com 35 35 g The forte of the Noct is low-light photography; such is the quality of the lens that stars in the extreme corners show only a minimal amount of coma flare, while detail in the church is extremely crisp. , Z 58mm f/0.95 S Noct, 4-seconds, f/1.4 ISO800 A LEGEND REBORN Nikon Z 58mm f/0.95 S Noct lens review

The latest prime lens to be added to the Nikon Z-system is the Nikon Z 58mm f/0.95 S Noct; SIMON STAFFORD takes a close look at this much vaunted lens.

All words and pictures by the author.

36 36 nikonownermagazine.com Nikon Z 58mm f/0.95 S Noct lens Review

After more than a year of high anticipation the Nikon Z 58mm The Noct is 153mm long and its lens hood adds a further 29mm, f/0.95 S Noct has finally been released; its development was while over half of the lens barrel, including all of the focusing revealed at the initial launch of the mirrorless Z-system back in ring, has a diameter of 102mm; the barrel is slightly narrower August 2018. It took until mid-October 2019 for the lens to become behind the focus ring in the section that is home to the two available, yet before the end of the month, despite its unique and control buttons, OLED display screen and tripod collar, while highly specialised specification and very high price, such was the closest to the the barrel narrows further in the level of demand for it the Nikon Corporation had no option section that contains the control ring. By comparison but to temporarily suspend accepting further orders the Z 50mm f/1.8 S lens, which is 87 x 76 (length x for the lens. Pre-orders for the lens had already diameter), looks positively diminutive! far exceed expectations and, coupled with the complexity and advanced manufacturing The considerable size of the Noct is more technologies, which limit production ...the Nikon Z than matched by its weight; with its metal volume, Nikon conceded it is going to take lens hood attached it tips the scales at a a considerable amount of time to catch up 58mm f/0.95 S Noct hefty 2,055g. To put that into perspective before deliveries can resume. it weighs almost five times as much is a very substantial as the Z 50mm f/1.8 S lens with hood Capable of gathering almost four times piece of optical attached (439g), while the Z 7 camera as much light as the Nikon Z 50mm f/1.8 body weighs 675g (including battery and S lens, bristling with the very latest optical engineering... memory card). technologies and built to the most exacting standards, Nikon have bestowed the new lens with Optically, the lens is highly complex, the legendary name – Noct. The name is believed to comprising seventeen elements, including 4 be an abbreviation of nocturne, as in a short piece of Extra-low Dispersion (ED) and 3 aspherical elements classical music typically inspired by, or evocative of, the night. to help reduce lateral chromatic aberration, arranged in ten groups, with Nikon’s proprietary Nano-crystal coating, plus its The only other Nikkor to bear this name is the F-mount Noct- latest ARNEO coating, applied to the surfaces of selected lens Nikkor 58mm f/1.2 Ai lens, released during 1977, the same year as elements to help control flare, internal glare and ghosting. In the Nikon F2 Photomic A; it was designed specifically to overcome common with all the Z Nikkor lenses the Noct is well-sealed to the problems of certain optical aberrations, especially sagittal provide resistance to the ingress of moisture and dust, while a coma flare, which at wide-lens aperture settings renders high- fluorine coating (in reality a flourine-containing polymer that contrast point light sources toward the periphery of the frame possesses “non-stick” properties) on the front element helps to as an elongated shape rather than a perfect circle. At the time repel moisture and facilitate lens cleaning. the Noct-Nikkor was “the” lens for photographing cityscapes at night-time or the night sky. The lens was updated to the Ai-S lens Starting from the rear of the lens barrel, the first section has mount during 1982 and remained in production until 1997. Its an integrated control ring, which can be assigned from the high reputation and unique place in the family of Nikkor lenses camera body to control either aperture value selection or has ensured its allure to practitioners and collectors alike and exposure compensation. In front of the control ring the lens remains undiminished today, with examples in mint condition barrel flares out to a wider diameter for its next section, which changing hands for very considerable sums. has the built-in, non-removable tripod collar and foot with its dedicated locking wheel. In the next section, immediately Following the launch of the Nikon Z mirrorless system, with its in front of the tripod collar, and in common with the Nikon Z new large (55mm) diameter Z lens mount and extremely short 24-70mm f2.8 S, the Noct lens features an OLED display panel, flange to focal plane distance, the engineers at Nikon were quick with user-variable brightness, which can indicate the aperture to exploit the possibilities and potential of state-of-the-art lens value, focus distance (in m or ft.) or depth-of-field; the different design. Enter the Nikon Z 58mm f/0.95 S Noct; as Nikon’s own display options are selected by pressing the DISP button, which marketing statement proclaims, “Some lenses aren’t built for a is adjacent to the display panel, where it is easy to operate with system – they’re the reason the system exists.” g The Nikon Z 58mm Intrigued by the new lens, I could not resist the temptation to f/0.95 S Noct flanked by test a sample and at the same time compare and contrast it the AF-S 58mm f/1.4G with with the F-mount Nikkor AF-S 58mm f/1.4G lens and Nikon Z FTZ adapter (left) and Z 50mm f/1.8 S 50mm f/1.8 S lens.

Design ______

Make no mistake – for a prime lens with a modest focal length the Nikon Z 58mm f/0.95 S Noct is a very substantial piece of optical engineering; a glance at the accompanying photograph in which it is shown flanked by the Nikkor AF-S 58mm f/1.4G and Nikon Z 50mm f/1.8 S lenses will provide some idea of its size.

37 36 nikonownermagazine.com nikonownermagazine.com 37 g Despite the tangled, confusing structure of the birch tree just beyond the subject the pleasing bokeh of the Noct has rendered it without any distraction. Nikon Z 7, Z 58mm f/0.95 S Noct, 1/125s, f/2.8 ISO64

your left thumb while the lens is cradled in the left palm. There full rotation; the ring has to be rotated through approximately is also a lens function (L-Fn) button positioned close to the DISP 330 degrees to shift from the infinity focus mark to the button; at its default setting it is used to lock autoexposure (AE minimum focus distance. lock), but can be assigned a wide variety of different functions from the menu system of the attached camera body. The At 0.5m the minimum focus distance of the Noct is respectable and 11-blade aperture iris covers a range of values from f/0.95 to produces a maximum magnification ratio of 1:4.9, at which point f/16; as with all Z Nikkor lenses the aperture iris is controlled the working distance (the distance between the front of the lens electronically from the camera body. and the subject) is 0.33m. The Z 50mm f/1.8 S lens can focus down to 0.38m where it has a maximum magnification ratio of 1:6. The Noct is a manual focus only lens; the large focus ring has the same longitudinal, narrow grooved grip design as other The 75mm long focus ring forms a considerable amount of the the Z Nikkors. The ring, which has an engraved focus distance outer lens barrel and includes the attachment thread for the scale (marked in m or ft.), is coupled mechanically to a linear dedicated HN-30 screw-in metal lens hood; there is an inner gearing mechanism that delivers an exceptionally silky focusing barrel that contains the frontmost glass elements. At a focus action, which videographers in particular will appreciate for distance between infinity and 3m the front edge of this inner smooth focus pulling. The focus ring turns through an arc of barrel, which has a filter attachment thread of 82mm, does not approximately 340 degrees, with a hard stop at each end of its protrude beyond the front edge of the outer barrel, and there is only 6mm clearance between the inner surface of the outer barrel and the outer surface of the inner barrel. Consequently, while it is possible to mount conventional circular shaped filters with an 82mm thread size to the Noct, it is not possible to use any adapter rings for slot-in filter holder systems, such as Lee Filters, until the focus distance is set to less than 3m, when the inner barrel will protrude sufficiently far forward. At the minimum focus distance the front edge of the inner barrel extends 19mm beyond the front edge of the outer barrel.

g The Nikon Z In common with all the Z Nikkor lenses released to date, 58mm f/0.95 S Noct the Noct has no built-in Vibration Reduction (VR) image with the inner barrel fully extended at its stabilisation system, as this is incorporated in the Z system minimum focus distance camera bodies, which have sensor-based VR.

38 38 nikonownermagazine.com Nikon Z 58mm f/0.95 S Noct lens Review

In common with all the Z Nikkor lenses released to “date, the Noct has no built- in Vibration Reduction (VR) image stabilisation system, as this is incorporated in the Z system camera bodies, which have sensor-based VR.

g Subject isolation is quite achievable, even at moderately long focus distances due to the extremely shallow depth of field at f/1. Nikon Z 7, Z 58mm f/0.95 S Noct, 1/25s, f/1 ISO400

39 38 nikonownermagazine.com nikonownermagazine.com 39 The Nikon Z 58mm f/0.95 S Noct lens, which is manufactured Once mounted on a Z 7 body, the combination weighs in at in Japan, is sealed extensively throughout its construction to 2,730g, so it is fortunate that the tripod collar foot makes for an protect against the ingress of dust and moisture. It is supplied excellent brace to rest in the palm of the left hand when taking with the HN-30 lens hood, the CT-101 hard-skin attaché-style photographs hand-held; I would certainly recommend rotation lens case, which has a moulded rigid foam insert with dedicated of the tripod collar to keep the foot in your hand when shooting cutouts for the lens and lens hood (the two cannot be stored in the vertical (portrait) format. attached to each other), plus additional compartments for a Z camera body, lenses or other accessories; also included are front Although super smooth in its operation, the very long and linear (pinch-style) and back lens caps. throw of the focusing ring means that rapid focus distance changes are not really practical, particularly with Handling ______a hand-held camera. Mounted on a tripod, the combination becomes more manageable, but To describe the Noct 58mm as a handful regrettably the tripod collar foot does not would be an understatement of some To describe have an Arca-Swiss compatible dovetail magnitude! Even after a few weeks of mounting, only a flat face with a standard working with the lens I never grew the Noct 58mm as a 3/8-inch tripod screw socket, so if you entirely accustomed to the amount of handful would be use a camera support system, such as force required to lift it, an act that always those available from Really Right Stuff or left me with a slight sense of surprise. an understatement Kirk Photo, it will be necessary to add an When working with the Noct you do not of some additional lens plate to the tripod collar so much mount the lens on the camera, foot. (Note: the tripod collar cannot be as mount the camera on the lens, because magnitude! removed by the user.) from a purely practical perspective this is the easiest and safest approach. The other major issue, especially with hand-held photography, which becomes very apparent as soon The first handling difficulty I encountered was how to hold as you acquire focus, especially at short focus distances, the lens securely; as if its large girth and considerable mass were is how incredibly difficult it is to maintain accurate focus at or not enough, the ultra-smooth outer surface of the lens barrel and close to the maximum aperture. At f/0.95 the depth of field is shallow ridges of the all-metal finished focus ring conspire to minuscule, to the point that I found the focus-peaking feature exacerbate the difficulty by providing precious little grip. of the Z 7 (also available on the Z 6) was of little use, since it

g Using a very limited depth-of-field can add a more abstract sense to an image. Nikon Z 7, Z 58mm f/0.95 S Noct, 1/500s, f/1.4 ISO64

40 40 nikonownermagazine.com Nikon Z 58mm f/0.95 S Noct lens Review

is simply not sufficiently accurate for critical focusing. After some trial and g Depth of field rendering at f/1 error I settled on a technique of using the viewfinder focus indicator feature, but when hand-holding the camera, rather than attempting to fine-tune focus by rotating the focus ring, I set focus to the approximate distance required and then shifted the camera by rocking back and forth very slowly until the viewfinder focus indicator confirmed I had attained final focus.

Performance ______

Normally, when reviewing a lens I am rarely given to bestowing plaudits, unless a particular aspect of its performance is notably remarkable; however, in the case of the Z 58mm f/0.95 S Noct it is quite simply superb in every department!

In terms of optical performance I will g Depth of field rendering at f/2 come straight to the point – the Noct delivers an utterly outstanding level of sharpness in the centre of the image field, even at f/0.95, but where this lens really impresses is the extremely high level of sharpness it delivers at its maximum aperture right out into the farthest corners of the full frame on the Z 7.

Many photographers will have been harbouring high expectations for the Noct based on the Modulation Transfer Function (MTF) graphs Nikon issued prior to the lens being released, but it is important to remember these graphs are purely theoretical; they are not based on actual measurements, so it is only once a lens can be tested that theory can be proven.

Pitching the AF-S 58mm f/1.4G lens g Depth of field rendering at f/4 against the Noct at f/1.4 is not really a fair comparison, as the former was developed with a different set of criteria as far as its optical performance is concerned. The 58mm f/1.4G lens has earned, quite rightly, a very good reputation for its rather more idiosyncratic image rendering, which with its levels of field curvature, distortion and vignetting gives them an almost three-dimensional appearance. So it was no surprise that in terms of sharpness at f/1.4 the Noct out-performed the 58mm f/1.4G by quite some margin both in the centre and at the periphery of the image field.

During testing my other point of reference was the excellent Z 50mm

41 40 nikonownermagazine.com nikonownermagazine.com 41 g The possibilities for close-up photography with the Noct offer lots of potential thanks to its excellent performance at short range. Nikon Z 7, Z 58mm f/0.95 S Noct, 1/250s, f/1.4 ISO64

f/1.8 S lens; I have come to regard this as the sharpest 50mm The remarkable optical performance of the Noct was attained Nikkor ever produced, so I was interested to see how it fared at both short and long focus distances; used for close-up against the Noct. At f/1.8 the Noct is already nearing its full photography the Noct still delivers a highly commendable stride, but all credit to the Z 50mm f/1.8 S lens, because in the performance, even at f/0.95, and much better than anything the centre of the field it is not that far behind, and although the Z 50mm f/1.8 S lens can achieve at similar close ranges. extreme corners are perceptibly weaker, it still turns in an impressive performance, which is a testament to just how Vignetting is very well controlled, especially for a lens with such incredibly good the Noct is. a large maximum aperture. As with all Z Nikkor lenses, the Z system cameras automatically apply built-in correction profiles Stopping the Noct down to f/2.8 renders yet further for control of vignetting, lateral chromatic aberration and linear improvement in sharpness to the point that I have not seen distortion. Despite this, the Noct still exhibits around 2/3-stop fall-off between the centre and corners at maximum aperture, but by f/2 vignetting is negligible. The Nikon lens profile for Vignetting is very well controlled, the Noct also makes a really excellent job of sorting out linear distortions, which are barely of any consequence to begin especially for a lens with such a large with. On the matter of chromatic aberrations (CA) the same maximum aperture. As with all Z Nikkor lens profile deals comprehensively with the minimal lateral “ CA, but as with all lenses with a very wide maximum aperture, lenses, the Z system cameras automatically longitudinal CA is clearly present with the Noct at f/0.95 and apply built-in correction profiles for remains perceptible at f/1.4, but is of no practical consequence by f/2.0. Longitudinal CA manifests as fringing at high contrast control of vignetting, lateral chromatic edges with a magenta colour cast in front of the point of focus aberration and linear distortion. and a green colour cast beyond it; these are not easily corrected in post-processing.

anything like from any other lens, regardless of make! The Inherent in its name is the use of the Noct in low-light sweet spot is f/2.8 to f/5.6 where the sharpness across the conditions, particularly at night, when the rendering of point entire full-frame is utterly remarkable; beyond f/5.6 on the light sources, be they natural (stars) or artificial (lights), can 45-megapixel sensor of the Z 7 diffraction begins to become really test a lens due to the extreme contrast. Depending on how apparent, with the attendant progressive increase in softness well a lens is corrected in dealing with coma will determine as the size of the aperture is reduced. whether such point light sources are rendered as circular or

42 42 nikonownermagazine.com Nikon Z 58mm f/0.95 S Noct lens Review

g Taken in extremely dim conditions, hand-held, the sharpness of this g A detail from the upper-right corner of the main image illustrates image across the frame at f/1 is testament to both the quality of the Noct and just how remarkable the optical performance of the Noct is. Nikon Z 7, Z the VR system of the Z 7. Nikon Z 7, Z 58mm f/0.95 S Noct, 1/15s, f/1 ISO800 58mm f/0.95 S Noct, 1/15s, f/1 ISO800

Inherent in its name is the use of the Noct in low-light conditions, “ particularly at night, when the rendering of point light sources, g The Orion constellation viewed through be they natural (stars) or artificial a very thin veil of cloud; rendering of the point light sources by the Noct is exemplary, (lights), can really test a lens due to even at f/1. Nikon Z 7, Z 58mm f/0.95 S Noct, 2 seconds, f/1 ISO800 the extreme contrast.

43 42 nikonownermagazine.com nikonownermagazine.com 43 g Foreground and background out-of-focus detail is rendered in a highly pleasing manner by the Noct, but it requires the utmost care to ensure accurate focus. Nikon Z 7, Z 58mm f/0.95 S Noct, 1/800s, f/0.95 ISO64

44 44 nikonownermagazine.com Nikon Z 58mm f/0.95 S Noct lens Review

appear as a tear-drop shaped highlight, in an effect that becomes of current lenses for the Nikon Z mirrorless system, but also a progressively stronger the farther off the central optical axis statement of intent as to what will follow. the point light source is positioned. Stopping the lens aperture down will usually help in reducing the effect of coma. Although The Noct should be considered as far more than a proof of not entirely free of coma at f/0.95 the Noct still turns in a very concept. Its outstanding optical performance at all focus impressive performance; remarkably the coma effect is no worse distances, combined with its f/0.95 maximum aperture and highly at maximum aperture than it is at f/1.4, over a full stop appealing bokeh, enables the creation of images no other down. The rendering of out-of-focus point light lens is capable of currently, regardless of whether it sources is commendable; at the centre of the is used for photography or videography. frame these are perfectly circular and exhibit a uniform level of illumination without any No doubt its weight, size and being manual hint of texture or ring patterns. Typically focus only will preclude it from many for a lens with such a large aperture, The Noct should be applications, but it is still a highly these highlights take on a progressively capable and competent photographic elliptical shape (think cat’s eye) the considered as far tool. You do need to adapt to the farther away from the optical axis they more than a proof requirements of its physical handling, occur; the Noct is no exception, but their but to be honest these are not really appearance is not objectionable. The bokeh of concept. onerous as it handles well once mounted (the rendering quality of out-of-focus detail) to a Z camera. (Just make sure you take produced by the Noct is equally as pleasing, extra care when pairing them!) Its extreme with smooth transitions and a highly gratifying sharpness, even at f/0.95, requires the utmost gentle, creamy blur. diligence when focusing, so make sure you use all available aids, such as a magnified Live View Summary ______image, the focus indicator and remember to check and double- check focus when focus peaking is operational. The Nikon Z 58mm f/0.95 S Noct is an unashamed statement by Nikon of its optical engineering prowess, the fruits of Since it is highly expensive the Noct is not going to become a over a century of making some of the finest lenses available. mainstay lens for all but a handful of photographers; more Irrespective of whichever superlative adjective you care to likely is it will become highly popular as a piece of equipment to choose, it can be pinned, without hesitation, on the chest of the be hired for those occasions when only its special attributes will Z 58mm f/0.95 S Noct. Peerless, it represents not only the zenith get the job done! Highly recommended! +

g The camera’s orientation will be critical when working at wide aperture settings with the Noct. Nikon Z 7, Z 58mm f/0.95 S Noct, 1/500s, f/1.4 ISO64

45 44 nikonownermagazine.com nikonownermagazine.com 45 TECHNICAL HELPLINE

Our technical helpline is a service on our website www.nikonownermagazine.com Our resident expert, Simon Stafford, is on hand to answer your questions about Nikon equipment and photography in general.

g 28mm F/1.4D AF NIKKOR LENS APERTURE the autofocus mechanical drive shaft (it has a narrow slot in STUCK AND NOT FOCUSING its end) rotates as you turn the focus ring manually. Then try the lens on the camera again to test. Question: Hello Simon, I am hoping you can shed some light on a lens issue I have. I purchased a brand new F6 last Beyond this there is nothing else you, as the user, can do May and it works flawlessly with the AF 35mm f/2D and if the faults are not rectified; besides you have consumer AF 85mm f/1.8D that I already owned. Today, I acquired protection having only just purchased the lens, so it would two more lenses, purchased second-hand: an AF 85mm be incumbent upon the dealer to either repair the lens if it f/1.4D and AF 28mm f/1.4D. The 85mm lens works perfectly; is deemed it was not fit for purpose when sold to you, or to however the 28mm does not. It appears to have the refund you. Kind regards, Simon + following issues:

1) The lens will not autofocus on the F6 (I do not have another body to test it on). 2) When the aperture ring is set to the minimum aperture g ADOBE LIGHTROOM FOR THE D850 position (f/16 ) and locked so as to control the aperture via the body, the camera screen shows f/32 only, even though Question: Dear Simon, I will be buying a Nikon D850 and the minimum aperture of the lens is f/16. This is regardless wondered if you could tell me if the existing Lightroom 5 of the exposure mode set on the camera. programme on my laptop will be compatible with RAW files 3) When the aperture is unlocked, the display on the body from this camera please? If it is, will I need to download reads double the actual aperture selected via the aperture anything? With thanks, John ring (e.g. f/16 on lens shows f/32 on body, while setting the lens to f/1.4 causes the body to display f/2.8). Answer: Dear John, You will need to update your version of Adobe Lightroom. Nikon D850 Raw file support for Adobe Clearly something is not right with the lens and I shall Camera Raw (ACR) for Adobe Photoshop and the Adobe DNG contact the dealer from whom I purchased it regarding converter module was added in ACR version 9.12.1, which this; however, I would be grateful of any advice you have was introduced during September 2017, while support for regarding these issues. Outwardly the lens is close to mint D850 NEF Raw files in Adobe Lightroom was introduced condition, shows no signs of damage, but I am wondering the following month by way of Adobe Lightroom version if perhaps the contacts are faulty, or possibly the circuit 6.13. Note this Lightroom update is intended exclusively ribbon broken. In advance of your reply, many thanks for for users who hold a licence to Adobe’s perpetual, non- your help. Kind regards, Simon subscription based version of Adobe Lightroom and was the penultimate update for that product. Answer: Dear Simon, I am sorry to hear about the problems you have experienced with your AF 28mm f/1.4D lens. Full details can be viewed here: http://blogs.adobe.com/lightroomjournal/2017/10/ Given that your three other lenses appear to function as lightroom-6-13-now-available.html?red=a you would expect on your F6 camera, it tends to suggest the issue is confined to the 28mm lens and, based on your description of the disparity of the aperture setting and To access the full range of tools and features in Lightroom, camera display, together with the lack of any response including support for the D850, it will be necessary to from the lens in terms of autofocus, the most likely cause is consider upgrading to the latest, subscription-only broken or at least incomplete communication between the based versions of Lightroom CC (cloud-based version) lens and the camera. or Lightroom Classic CC (this is the equivalent to the perpetual licence version of Lightroom you use currently, My best advice would be to wipe the contact pins of the lens but is available by subscription only). mount with a lint-free cloth with a small spot of lens cleaning fluid applied to it (not the lens directly) to ensure all the Full details of Lightroom Classic CC can be viewed here: pins are free to move. Also, with the lens detached from the https://www.adobe.com/uk/products/photoshop-lightroom- camera, look at the lens mount and watch to see if the end of classic.html Kind regards, Simon +

46 46 nikonownermagazine.com g D750 RECOMMENDED MEMORY CARD g USING CABLE THE NIKON SC-18 TTL FLASH SPECIFICATIONS CABLE TO LINK A SECOND SPEEDLIGHT

Question: Dear Simon, Just wondering what the best card Question: Dear Simon, I am using a Nikon D750 and Nikon for the D750 would be, given that I usually shoot in RAW SB-800 Speedlights. and make little use of the video-recording capabilities. Currently, I am considering the SanDisk 64GB 95MB/s If I use an SC-28 cable to link an off-camera Speedlight Extreme Pro SDXC UHS-1 V30 U3 card. Thank you, John to the camera for full TTL function, and then connect a second Speedlight to the terminal on the SC-28 with an Answer: Dear John, As with all Nikon digital cameras, SC-18 cable, will the second Speedlight have linked TTL the limiting factor in terms of buffer memory clearance functionality with the camera as the first Speedlight has? rate and the maximum data writing time to the installed memory card(s) is the camera and not the memory card. If not, how can I have two Speedlights operating with TTL As far as the D750 is concerned, any card that has a control from the camera? Many thanks, Barry sustained write speed of 90MB/s or higher will be more than adequate; so your choice of the SanDisk card at Answer: Dear Barry, The short answer to your question is 95MB/s would be ideal and it would be pointless buying a – no. faster card as you will derive no benefit from it. Equally, buying one of the latest UHS-II standard SD cards The SC-28 is a five-core cable capable of supporting full TTL will be pointless as the D750 is not compliant with the UHS- control of a single compatible Nikon Speedlight for off- II standard; a UHS-II card in the D750 will only deliver a camera flash with compatible Nikon D-SLR cameras, such performance equivalent to a UHS-I card. So save money and as your D750. only buy a UHS-I standard SD card. The Nikon SC-28 and SC-29 TTL flash cables are part of the Finally, for video work the V30 and U3 standards Nikon Creative Lighting System (CLS) and are compatible will provide ample performance in dealing with the with any CLS compatible Nikon Speedlight that has an continuous data stream for video recording with the D750 accessory shoe foot, including the SB-600, SB-700, SB-800, at 1080p resolution. Kind regards, Simon + SB-900, SB-910 and SB-5000.

The SC-18 is an earlier three-core cable that only supports TTL flash control with Nikon cameras and Speedlights that g D750 HIGHLIGHTS WARNING DISPLAY IN pre-date the introduction of the Nikon CLS. PLAYBACK MODE The SC-18 and SC-19, also three-core cables, are not suitable Question: Dear Simon, If, when shooting RAW plus JPEG with for TTL flash control with CLS compatible cameras and my D750, the image shows flashing areas when displayed flash as they only carry the flash fire signal and therefore in playback mode on the camera monitor screen, does this initiate firing of the Speedlight too early, before the reflex mean that the JPEG may be overexposed, or does it mean mirror of the camera has lifted; they do not allow the CLS- that the RAW may be overexposed, or both? compatible Speedlight models to fire their monitor pre- Kind regards, Barry flash for flash output assessment, before the main flash output is emitted. Answer: Dear Barry, The Highlights warning (i.e. flashing areas within an image displayed in Playback mode) applies The simplest and most convenient way to operate off- equally to NEF Raw and JPEG files, including when the camera flash is to use the built-in Speedlight of your camera is set to record both. D750 in its Commander mode to control remote flash Remember, when reviewing an image in-camera you only units wirelessly, via the Nikon Advanced Wireless Lighting ever see the preview JPEG file displayed, even when the (AWL) system. camera is set to record NEF Raw exclusively or NEF Raw plus JPEG. To set this up select the Commander mode option under Custom Setting menu item e3 (Flash control for Consequently the Highlights warning should only built-in flash). be treated as an indication that those areas may be overexposed; it's not a definitive indication. Even if a You will need to set your SB-800 Speedlights to their highlight area in a JPEG file is overexposed, this may not be Remote function and ensure they are all set to the same so in the NEF Raw file, due to its greater bit-depth. operating channel as the built-in Speedlight of the D750. You will probably find the histogram display more useful and easier to interpret when assessing shadow and You can control two autonomous groups of remote flash highlight areas of an image, whilst reviewing an image units from the camera: see pages 348 - 352 of the Nikon in-camera. D750 User’s Manual for further information.

Kind regards, Simon + Kind regards, Simon +

46 nikonownermagazine.com nikonownermagazine.com 47 47 THE TONY HURST GALLERY G

The birth and success of the Nikon F helped make Nikon one of the top global brands...

48 nikonownermagazine.com 48 TONY HURST ALLERY G Words by Gray Levett

Nikon F Photomic camera, black finish & 85mm f/1.8 Nikkor-H pre-AI lens

In June 1959, Nikon released the Nikon F. This when the phrase “Made in Japan“ did not necessarily was their first 35mm single lens reflex (SLR) signify high quality, the Nikon F clearly showed camera. Because of its quick response time, the world the heights of technology and skills that robust build and a complete system that could Japan’s manufacturing industry could achieve. The meet every photographic need, it was embraced Nikon F appealed to a wide range of photographers, and loved by professional photographers across both amateur and professional, and it was the world who wanted a professional camera instrumental in overturning the prevailing image of to enable them to capture that perfect shot. It Japanese products as being inferior. dominated the 35mm SLR market and was The birth and success of the Nikon F helped Nikon’s flagship model for 13 years. make Nikon one of the top global brands, and Despite huge competition in the 1960s from other it immensely improved the business stability Japanese camera manufacturers, the Nikon F was of Nippon Kogaku as a total optical equipment not greatly affected. In fact it became a cornerstone manufacturer by giving it a solid business of the camera business and helped in the continued foundation. growth of the Nikon (Nippon Kogaku as it was It was Nikon’s primary goal to create a camera known) company. Additionally, the Nikon F led system that overcame the faults of their competitors’ the way to changes in the world of 35mm high-end cameras and make the ultimate 35mm SLR camera. cameras from 35mm rangefinder models to 35mm In order to realise a camera system that was SLRs. As a result, the Japanese camera industry, recognised as important in their development which had been playing catch-up with Germany’s strategy, in addition to lenses, Nikon produced camera industry, took the lead. many accessories from the beginning in order to At the same time the Nikon F helped establish increase the system and the value of the Nikon F as the Nikon brand image as one that exemplified a high-end camera. Among the many accessories, stringent product quality and for many the Nikon clip-on meter was released in September photographers became a status symbol. After 1959 together with the world’s first motor drive for about the mid-1960s, Nikon cameras were used by an SLR, the F-36, which appeared in June of the same photographers in movies, and it was frequently year. Nikon were also successful in developing the used as a prop and within advertisements in Photomic finder that combined the exposure meter international magazines for airlines, automobiles, with the eye-level viewfinder and improved the fashion and other non-camera companies. This performance of the exposure meter by adopting CdS blanket exposure around the world indicated that (cadmium sulphide) as the photo-sensitive element. Nikon had become synonymous with high-end The exposure meter was a fixed point-alignment cameras to the general public. type based on external exposure measurement, and The Nikon F was the culmination of Nikon‘s the meter indicator could be seen either through the technology which was centred on high precision viewfinder or externally on the top of the finder. and a high reliability. As such, during the 1950s In April 1962, the Nikon F Photomic was launched. +

48 nikonownermagazine.com 49 nikonownermagazine.com 49 Z 50 MIGHTY MINI-ME By Becky Danese

A year after the release of Nikon's new mirrorless Z system, which proved to be quite the success, photographers held their breath for the next addition to the line-up. Some speculated a flagship Z camera to work alongside the D5, while others thought a miniature version to complement the range might make more sense. As it transpired, the latter was what came to be: the DX format Nikon Z 50 with its accompanying lenses. All words and pictures by the author.

50 50 nikonownermagazine.com Nikon Z 50 Review

I know many photographers who like the feel of a 'proper' camera in their hands. Something weighty and robust that they can put through its paces and will survive even the harshest careers. But for some, the smaller the better. Although a few keen amateurs delight in carrying 2-3kg of camera equipment with them at all times just in case they get a shot (and that's just one body and one lens!), I would say that the majority of us are looking to lighten our photographic load, so to speak.

Why not carry a point-and-shoot, you might ask? Well, what these compact cameras lack are sensors of a decent size to really resolve detail, handle low-light situations and with no mechanical shutter, the lag between pressing the button and taking the picture can be all the difference between having the shot or not. Enter, stage left, the Z 50.

The camera ______

The body itself is made of lightweight polycarbonate combined with a magnesium alloy top and front plate, which means it isn't as flimsy as a compact camera. Smaller than the Z 6/Z 7 chassis, it sits well in the hand, but is small enough to fit into a (large) pocket if you just want to take the kit lens with you.

It holds a 20.9 megapixel sensor (the same resolution as found in the D500 and D7500), but has the newer 6 processor of the Z 6, Z 7 and D780. People have started dubbing it the 'mini D7500' but in many ways it is also a mini Z 6.

I happily use Z cameras along with the D850 and various 35mm film bodies, but the one thing that I never managed to find was a compact camera that I got along with. I dabbled with Nikon Coolpix, the Nikon 1 system and later other manufacturers who were doing APSC (DX) mirrorless cameras such as Fuji, but I came to the conclusion that although I could take photographs I liked with any of them, I didn't enjoy using them half as much as my DSLR. Obviously the Z 50 isn't a compact camera, but one can pretend it is thanks to its size, yet you get DSLR-level quality and all- Nikon menus and controls (which I have to admit I'm far too used to now).

If you can get used to shooting through an EVF (and an impressive one at that) then it works nicely as an accompanying camera for a serious photographer, or as a main body for enthusiasts, media By Becky Danese content makers and new photographers. First impressions ______

The first thing that I noticed was the Z 50's ISO range. Throwing myself and the Z 50 in at the deep end, I was asked to photograph a Bonfire Night celebration and brought just the Z 50 and 16-50mm along with me. I also carried the FTZ with my favoured 20mm f/1.8G (for low-light shots) but never once took it out of my bag. Shooting in the dark with next to no preparations (don't try this at home) was both pleasantly surprising and hair- raising at the same time.

The ISO is the same impressive range as can be found in the Z 6: 100-51,200ISO (extendable up to 204,800ISO). If you're viewing all of your pictures at 100% and aggressively cropping, you will

51 50 nikonownermagazine.com nikonownermagazine.com 51 notice noise when you go above 3,200ISO without a doubt, but My preference for photography is to shoot AF-S and use the small it isn't displeasing or distracting until you go above 8,000, and area, which approximately replicates the old-school style of even then, it is subject dependent. shooting I use on my DSLRs, but as Nikon AF technology moves on I do find myself using the other options more and more. Other photographers may even find that the higher ISO ranges are to their liking, particularly if you've been used to the earlier AF-C will allow you up to 209 AF points (a similar number to the generation of DX cameras with their rather blotchy, Z 6's 273) and all of these performed admirably when I distracting noise at anything beyond 1000ISO on a pointed the camera in the approximate direction good day. of running children and asked it to do its best. Subject tracking was also impressive, As mentioned, my first shoot was on a field locking onto a target and keeping zip- in the dark, waiting for the fireworks The fact that lining ten-year-olds within its sights, to go off. My instinct was to manually you can shoot although it slipped up when one person set the ISO and see what I could do, but was wearing the same coloured coat as with conditions as they were I ended completely silently the background and proceeded to walk up shooting at 8,000 anyway, and I have is also useful if out of the frame. 11 frames per second to say the results did not disappoint. continuous shooting helped too! Perhaps it's not the same as the D5 at you're trying to be these levels, but it did remarkably well On paper Nikon boast autofocus detection without any editing in post-processing. discreet... at up to -4 EV and up to +19 EV (that's really bright), and from my experience that appears Next up is the AF system. The default mode is to be about right. Even a high-contrast scene such always AF-A, which I personally avoid using, due to its as this one (pictured) didn't stop the camera from hit-and-miss nature. AF-S is the same as the Z 6 in that you have picking up a seagull flying across the Thames. the choice between a pinpoint, single-point, dynamic area AF, wide and large areas, as well as auto area AF. The fact that you can shoot completely silently is also useful if you're trying to be discreet, although for most shooting the Auto area AF face tracking and eye tracking is impressive in sound of the mechanical shutter can be somewhat comforting. stills, but proves to be quite an asset for video work, particularly For long exposures and tripod work, the ML-L7 bluetooth remote as the target audience for this camera is media content makers control is the only option to remotely release the camera, or via who will undoubtedly use both. Snapbridge using a smartphone.

g Z 50 + 50-250mm DX: 250mm, 1/1250sec, f/7.1, 640ISO)

52 52 nikonownermagazine.com Nikon Z 50 Review

The handling ______The camera takes a new EN-EL25 battery, 300 shots per charge according to CIPA standards, and a single SDHC/SDXC card slot. The Z 50 is unmistakably Nikon, with the same menu layout The flip-out screen is slightly more articulated than we are used and similar button locations to the Z 6 and Z 7. The deep grip to on the Z 6 & Z 7, allowing for *ahem* selfie mode... For the is comfortable in the hand, and the body only weighs 450g, sake of trying it, I attempted selfie mode, but I'm yet to take a while the kit lens is another 135g. Those two together are half flattering photo. Perhaps my arms aren't long enough. the weight of the D850 (1005g) and almost the same as the Z 6 with no lens (675g). Nikon have added some touch-buttons on the right side of the rear LCD, which take a bit of getting used to (these are simply to zoom in, zoom out and change the rear display), but other than this everything is easy to find. There's no dedicated AF-ON button, but the AE-L/AF-L button can be set to that function if you use it.

The Z cameras have customisable function buttons on the front of the camera, as well as the quick-to-access i menu, where you can set your preferred quick settings such as metering, single/ continuous shooting, image quality, white balance, etc.. You can also set an entirely different i menu up for videos and for stills, which is handy for the filmmakers out there. On the subject of video, the Z 50 shoots 4k at 30p, with full 1080p HD video at all other frames per second. Although this isn't necessarily going to be the camera that makes cinematographers suddenly up and move to Nikon, we do come to expect high-quality video in every camera Nikon brings out now, even if it's just to check another box on the specifications list. Any serious filmmaker will at least be shooting full-frame, but if you like the idea of taking some footage of your adventures, or time-lapse movies, the Z 50 does it nicely.

53 52 nikonownermagazine.com nikonownermagazine.com 53 I would have liked Nikon to include IBIS (In Body Image Lenses ______Stabilisation). To me this would be my only criticism, as it makes a huge difference if you're shooting with long non-VR lenses or The two lenses supplied were the NIKKOR Z DX 16-50mm f/3.5- manual focus lenses at slower shutter speeds, which I do, often. 6.3 VR and the optional telephoto lens NIKKOR Z DX 50-250mm f/4.5-6.3 VR. The only other DX lens officially due for release is a However, the two accompanying lenses have VR in them, so this DX 18-140mm (presumably VR) which has yet to be announced, won't be an issue for many. although all of the FX Z lenses will fit, and all of the F-mount lenses will fit via the FTZ adapter. If you plan to stick to the accompanying DX lenses all of these will have VR in them too, so it might only bother those who plan When it comes to using the FTZ, bear in mind that only AF-P and to use older glass with a Z 50 (a miniscule portion of the target AF-S type lenses will autofocus on any Z camera, while older AF market I'm sure). lenses will not. Almost all manual focus lenses fit too, as covered in Nikon Owner 66. And for those who asked the question, you Shooting modes ______can get away with putting the DX Nikkor Z lenses onto the Z 6 and Z 7 but the cameras automatically crop to DX mode (there's The expected M, A, S, P options are all there, as well as a full AUTO no way to turn it off as you can with DSLRs) so I would suggest mode. There are two customisable user menus, U1 and U2, as awaiting the future pancake Z lenses if you really want a well as plenty of SCENE and EFFECT modes to choose from. lightweight lens for your Z 6 or Z 7. SCENE modes allow you to choose a pre-selected setting, such as Portrait or Sports mode, even Autumn colours and Candlelight, The AF on the supplied lenses is completely silent, which while EFFECT modes include Selective colour and Super vivid. matches nicely with the silent shooting mode if you want to be really discreet (like a ninja). As with all DX lenses you'll need The camera also has a built-in flash, although unlike many to times the focal length by 1.5 to get the true FX equivalent, DSLRs this does not pop up automatically in the SCENE or Auto so the 16-50mm is really a 24-75mm, while the telephoto 50- mode, but can be activated if desired. 250mm is a complementary 75-375mm. That should cover most shooting situations.

Don't be fooled by their size either. The 16-50mm focuses as close as 20cm away when the lens is set to 24mm, so it even works for a dabble in close-up, and for standard screen and print size (up to A3) both lenses do an admirable job. There's the expected slight vignetting and distortion when shooting with the 16-50mm wide- open at 16mm, but all of that is easily correctable with a click or two in post. There is much to be said for using native lenses on the camera, but I've also tested AF-S FX and DX lenses on the Z 50 using the FTZ adapter. The focusing may be fractionally slower, but this is very much lens, and subject matter, dependant.

Final words on performance ______

Overall I was impressed with the size, weight and usability of the camera, as well as the results. If you haven't used a Z camera before, you might not love it on your first try. Shooting with an electronic viewfinder isn't for everyone, and getting used to touching the screen to swipe, pinch and zoom sometimes makes you feel like you're using a smartphone, but you can turn it all off if you really don't like to tap the screen on the back. For general shooting I've not been displeased with the results, only finding it lacking when I push it to extremes. For most serious photographers who want something small and lightweight to carry on holiday or around with them in their bag, the Z 50 is tiny enough that you won't notice it, while still packing an enormous amount of technology under its little hood.

Places where I found it struggled were only when I tried to use it like I use my D850, such as long exposures for landscape (where a lower base ISO would be ideal), or shooting in pitiful lighting conditions. But those instances were few and far between, and if I were really using a camera for this sort of photography, I'd take a DSLR, Z 6 or Z 7 anyway. The Z 50 isn't pretending to be a professional camera at all; it's just a very capable companion for those who want something a bit different. +

54 54 nikonownermagazine.com Nikon Z 50 Review

The Z 50 isn't pretending to be a professional camera at all; it's just a very capable companion for those who want something a bit different.

55 54 nikonownermagazine.com nikonownermagazine.com 55 Designed by Yusaku Kamekura 56 nikonownermagazine.com HIS GENERATION: A TRIBUTE TO MICHAEL PUTLAND By Gillian Greenwood

The famous Tapisserie de Bayeux tells the story of the events Clapton, Leonard Cohen, Alice Cooper, Crosby, Stills, Nash from 1064 to 1066, culminating in the Battle of Hastings. It & Young, Miles Davis, Deep Purple, Bob Dylan, , consists of some seventy colourful scenes, embroidered on Fleetwood Mac, Jimi Hendrix, Michael Jackson, Elton John, linen with woollen yarns. B.B. King, The Kinks, , , Bob Marley, George Michael, Kylie Minogue, Dolly Parton, Pink Floyd, The Photography could almost be viewed as a tapestry made up Police, Prince, Queen, , Diana Ross, Slade, of diverse, brightly coloured threads. Light, shade, emotion, Bruce Springsteen, Sting, Tina Turner, Scott Walker, Wham!, even movement are woven together to create a number of , Stevie Winwood, Neil Young, Yes, . singular, arresting moments in time, sometimes unexpected, And this is not the full list. Michael’s work touched upon sometimes premeditated. The images captured by a portrait the uncomplicated joy, the powerful simplicity, the sheer photographer might show a mere glimpse of his subject, but elation of each of those artists. at the same time reveal an entire life-history. They might reflect the dazzling energy he inherently possesses or a There was a unique clarity to his work that highlighted his haunting procrastination within his inner soul. understanding of both his subject and the intense musical vision and creative insight of the period. His portraits were A good photographer demonstrates all of this within his always visually immediate, each one of them beautifully work, and more, but it is an exceptional one who chronicles crafted. Yet there was more – it was as if an exquisite the changing world around him with such breadth and luminosity had been granted to each of his subjects, intensity that it stops us abruptly in our tracks, allowing us perhaps distilled from the vigour, passion and idealism of to view that world anew. the time, perhaps a reflection of Michael’s own warmth and Michael Putland was such a photographer. Born two years enthusiasm for life. after the end of WW2, Michael grew up in Harrow where he Michael Putland was an extraordinary photographer and took his first pictures at the age of nine. When he left school has left behind a phenomenal legacy of sheer, unparalleled he worked as an assistant to various photographers including accomplishment. He has also enabled the rest of us to the Time Life photographer Walter Curtain and the legendary look at the world as it once existed in the second part of motor-racing photographer Louis Klemantaski. In 1969 he set the twentieth century in a different way. With its musical up his own studio in the basement of 40 Churton Street, and and philosophic exuberance, he captured on film a living, by 1971 he was the official photographer for the British music breathing, bright new universe, peopled with larger-than-life magazine Disc and Music Echo. His first assignment that year musicians and artists full of idealism and hope for the future. was to photograph in London. Perhaps the road-map Michael created is his gift to all of us: no He went on to work with some of the most remarkable matter what field of photography we have chosen, we have the musicians of the twentieth century. ability to view our planet and the people in it with a fresh new perspective and create our own photographic tapestries. + AC/DC, The Beach Boys, Jeff Beck, The , Black Sabbath, Blondie, Marc Bolan, , Johnny Cash, Cher, Eric My Generation was an album released by The Who in 1965

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