Why color calibrate your monitor?

I have seen and heard this question asked many times, “Why bother? When most everyone viewing my images isn’t using a color calibrated monitor anyway?”

Here is a thought, if you don’t calibrate your monitor, you have no way of knowing how far off the colors are. If your monitors colors are off by quite a bit, picture someone else viewing your image with an uncalibrated monitor which is off also. The colors wont even be close to what you think they should be.

If you have a color calibrated monitor, at least there is a greater chance that what the viewer sees is close to the intended colors.

Nikon D800 as leaked early by Brazilian site.

Along with some pictures, a Brazilian site leaked early the press release information about the soon to be announced Nikon D800. It has since quickly been removed. Here is a cut and paste of what was up briefly:

The new Nikon D800 surpasses all expectations with its 36.3 megapixel resolution ensures maximum fidelity and unsurpassed

The new release of the Nipponese company offers unparalleled features to please all demanding professional photography, videographers and filmmakers.

Sao Paulo, February 6, 2012

Nikon introduces its long-awaited release, the HD-SLR D800, which offers resolution never seen before, amazing picture quality and valuable video resources, still optimized for professional multimedia photographers and videographers. With unparalleled balance between precision and functionality, the Nikon D800 brings innovations such as the CMOS sensor 36.3 megapixel FX-format, 91,000 pixel RGB sensor, advanced Scene Recognition System and many other new features.

Exceptional Image Quality

The new 36.3 megapixel CMOS sensor (7360 x 4912 resolution) and FX format (35.9 x 24mm) is the largest in terms of resolution so far developed by Nikon, and come meet nikonzeiros numerous requests from around the world. It is ideal for situations where you can not compromise the fidelity, such as weddings, photo studio and record landscapes. A resolution of this magnitude gives the photographer the ability to portray even the smallest details with stunning clarity. Every aspect of the sensor of this model was designed to ensure clear images in low light, so it has enhanced features like OLPF converter and a 14 bit A / D to minimize the noise around the picture.

The D800 lives up to Nikon’s reputation of being the sovereign ability to capture in low light thanks to the standard range of ISO 100-6400, expandable to 50 (Lo-1) and 25600 (Hi-2), which helps create gradient amazing colors when shooting JPEG or RAW.

All these image data are directed to a channel of 16 bits for maximum performance. Photographers can also take advantage of the lenses in FX format lenses for more options and increased focal range (1.5X), while still maintaining the clarity and detail in high resolution of 15.3 megapixels (4800×3200).

The D800 has an advanced Scene Recognition System with its array of colors (3D Color Matrix Meter III), which provides precise measurement in the most challenging lighting conditions. At the heart of this system is the innovative RGB sensor that analyzes each scene meticulously, recognizes factors such as light and bright and then compares all the data using the unique database of 30,000 images from Nikon. This new sensor still has the ability to detect faces with high accuracy even when shooting through viewfinder. The Color Matrix Meter also prioritizes the faces detected, allowing the right exposure even when the subject is backlit.

Novelty is also the exclusive image processing engine Nikon’s EXPEED 3, which controls the entire system and is the catalyst behind the responsiveness of the camera’s auto focus and performance. The new Nikon image processing engine is capable of processing huge amounts of data, with perfect color and tone perfect. 3 The EXPEED also contributes to energy efficiency, allowing the user to use the camera for longer.

Featured in the new and improved white balance system of this model that more accurately recognizes both the sources of natural light and artificial ones, and gives the user the option to retain the warmth of ambient lighting.

Users can also capture a greater dynamic range with the HDR function and enjoy the benefits of Active D-Lighting for balanced exposures even in backlit scenes. In addition, the camera offers a dedicated button for quick access to Nikon’s Picture Controls to adjust the parameters of photo and video in real time, such as color, sharpness and saturation.

True Cinema Experience

The Nikon D800 is a compact and lightweight which is ideal for the production environment. Its features are very practical and functional usable by both filmmakers in the field and in the studio or filmmakers. Filmmakers have the option of multiple resolutions and frame ranges, including Full HD 1080 and HD 720 30/24p to 60p. By using the method of data compression B-Frame, the user can record video in H.264 / MPEG-4 AVC up to 29:59 minutes per clip. The optimized CMOS sensor reads the image data on rates incredibly quick results almost instantly.

The D800 also allows videographers to keep the resolution high definition (1080p) regardless of the selected scene mode. Users can also compose and easily check critical focus for HD LCD monitor 3.2 “and 921 000 pixels with reinforced fabric, automatic control of brightness and wide viewing Anglo.

For professionals, it is important to have a camera that has digital recorders and external monitors. With the D800 is possible to transmit an uncompressed HD signal directly off the camera for an HDMI output (8 bit, 4:2:2). This signal can be transmitted to a display, digital recording device or routed through a monitor, eliminating the need for multiple connections. The image can also be viewed simultaneously on the LCD screen and an external display screen while excluding the state data of the camera for streaming media.

The D800 also includes features to enhance the audio quality, as a specific output for headphones used to monitor the audio levels during recording, which can be adjusted within 30 steps. Have the onboard microphone can be adjusted with up to 20 steps of sensitivity for the faithful reproduction of sound. To complete the recording can be configured to be activated via the shutter button.

Shutter speed and performance with amazing accuracy

The autofocus system Advanced Multi-Cam 3500 AF is the next generation of the proven 51-point AF system Nikon. The fully customizable system offers users the ability to capture fast moving subjects in focus and accurately track, or select a single AF point with absolute precision in detail. The focus system uses 15 sensors of the type AF Crusaders for accuracy and the system also emphasizes human faces even when the viewfinder is used. The D800 also employs 9 cross-type sensors fully functional when used with compatible NIKKOR lenses and teleconverters aperture f / 8 or smaller.

For maximum versatility in different situations, users can also select multiple AF modes, including normal, expanded area and tracking of faces and objects / people, even the optical viewfinder.

Ready to shoot in less than 0012 seconds, the Nikon D800 can capture files in FX mode and resolution up to 4 fps, or up to 6 fps with DX mode with the optional battery pack MB-D12 battery and compatible. To further improve the speed of the camera and the overall workflow, the D800 uses the new standard USB 3.0 for fast transfer.

Format and operability

The structure of the Nikon D800 is designed magnesium alloy for maximum durability and reliability. The camera body is closed and sealed with gaskets to resist dust, moisture and also to electromagnetic interference. You can easily picture of the composition through the viewfinder of course, which offers 100% coverage of the scene.

The shutter was tested to withstand 200,000 cycles, ensuring maximum durability, while the sensor cleaning is made by the vibration of OLPF. The self-diagnostic shutter unit also includes a mirror balancer to minimize the residual impact of the “bounce”, improving the AF and zoom viewing time. Furthermore, the display is coated with a new finish protection thermal which serves to resist to overheating during prolonged use. For storage, the D800 has dual card slot for CF and SD cards, offering the user the possibility of recording up when a card is full, recording RAW / JPEG, separately, and the added option of recording still pictures to and video card to another. For recording and transfers at high speed, data can be recorded on the latest UDMA-7 and the cards SDXC/UHS-1.

The D800 also features built-in flash, and is compatible with the acclaimed Creative Lighting System Nikon, including the Command Mode for embedded control Speedlights wirelessly.

Get out of my shot…

A pretty common occurrence at popular scenic viewpoints, someone is standing with their tripod setup right where you want to be. Other photographers wander through and sometimes even setup right in front of you without looking. I can think of a couple ways to avoid that, go mid-week or get there when everyone else is sleeping or has gone home. Or better yet, find a different spot with a different perspective on the subject, you go home with a shot no one else has.


But here is something a little different, YOU get in your own shots. What… you ask  while scratching your head?
It took me a while to start thinking about this before I arrived at a location. Of course, none of these things ever happened to me .
You wander around looking for a great composition and when you finally find the perfect spot, set up your camera and look through the view finder only to see there are great big clown size footprints right in the middle of your composition. Ok, who was the idiot that walked right through here??? Looking around only to find you are the only one there… Oops, way to go smarty pants. It helps to think about where you might setup ahead of time, preferably before you walk through that snow or sand.
How about this one, you are shooting in portrait orientation with the ultra-wide angle lens. You get some outstanding shots, at least so the camera LCD says, and cant wait to get home and see these beauties on that great BIG custom calibrated monitor you spent a month researching information on the internet before you bought. So there it is, The shot, but wait, what is that at the very bottom of the frame? Could that be a tripod foot? Doh… You didn’t even think of checking the bottom of the view finder while positioning your camera. This last one usually isn’t a problem unless you are using something wider than 17mm on a full 35mm format camera of 12mm on a cropped sensor camera. Of course, like I said, this has never happened to me.



Geez, and all I thought I had to do was get to a pretty location at the right time of day and snap the picture. Now you want me to think about where I walk, or double check the view finder all before I have had my morning coffee?
Next you’ll be asking if I remembered to charge my batteries…
About the pictures; the first was shot using a Nikon D3x and the AF-S 24-120 f4 at 38mm using a Singh-Ray circular polarizer to help cut some of the glare from the water and rocks. The second was shot with the Nikon D3x and the AF-S 16-35 f4 at 16mm.

Nikon AF-S 24-120 f4 review for Landscape Photography

I recently rented the new Nikkor AF-S 24-120 f4 to see how well it would work as a landscape lens. I had read some mixed reviews about the lens but no one has really tested it from a landscape perspective. The focal ranges I normally use are 16mm to about 125mm. I have 2 lenses I carry all the time (Nikkor’s AF-S 16-35 f4 and AF-S 70-300 VR)  and a 3rd (Nikkor AF-S28-70 f2.8) I use sometimes. The focal range of this new lens would compliment my 16-35 and reduce the lenses I carry to 2. Another benefit would be a bit of weight reduction in my backpack. The Nikkor AF-S 28-70 is a very large and heavy lens, while image quality is great, I would not miss having to carry it while backpacking. The Nikkor AF-S 24-120 f4 wont be replacing my 16-35, but I was curious how it would compare at 24mm if switching lenses in a nasty environment wasn’t an option. I also compared the Nikkor AF-S 24-120 f4 to the AF-S 28-70 f2.8 at 28mm and 50mm, and the AF-S 70-300 VR at 70mm, 85mm, and 120mm. The images posted are all at f11, though I am shooting the same shots at f8 also. Since I am looking at this from a landscape perspective, I wasn’t concerned with larger f stops. Shots posted are 200% crops for your pixel peeping benefit
Testing was done using a Nikon D3x mounted on a tripod, mirror lock up, cable release and Live View contrast detect focus. I was shooting at f8 and f11 and pixel peeping at 200% The shots were taken in RAW and no extra processing other than my normal ACR settings or sharpening was applied other than adjusting very slight exposure changes.
The images are posted HERE. My expectations weren't high considering the bashing this lens was getting (mostly from people who had not tested it.) My initial impression is, I don't see what all the fuss on build quality is about. It is similar to the feel of the AF-S 16-35 f4, the Nikkor AF-S 24-120 f4 internal sleeve is metal. It appears it will withstand my abuse as the AF-S 16-35 f4 does and I can be pretty hard on gear. It is very solid feeling when zooming. I don't get the plasticy (is that a word? ) feeling of my AF-S 70-300 VR. I think the build quality is quite good. The 24-120 does have a decent amount of barrel distortion improving all the way to 35mm where there is no distortion. As I zoomed further it changes to some minor pin cushion all the way to 120mm.
Testing at 24mm, the Nikkor AF-S 24-120 f4 is better than I was expecting, the center sharpness looks very close to the AF-S 16-35 f4 seeming ever so slightly sharper due to a little better micro contrast. They are close enough to not worry about (remember, 200% pixel peeping).
(When I refer to micro contrast or lens contrast it is a reference to sharpness, not like the contrast which distributes tonal gradation from black to white or lightest to darkest. Here is a good article explaining lens contrast). At f8 The 16-35 is better in the edge/corner department as I expected and the 24-120 has a bit of CA as does the 16-35 but the 16-35 CA is negligible. The 16-35 has nice clean straight lines and the 24-120 quite a bit of barrel distortion, no surprise here. At f11 there doesn't seem to be much change except edge/corner performance, the 16-35 improves and the 24-120 stays about the same.

Against the the 28-70, at 28mm, center performance is similar but the corners are much better with the 24-120. My eyes give a slight edge to the 24-120 in the center but it is very close. Both have a decent amount of CA of different type. The 24-120 still displays a bit of barrel distortion at 28mm and changes to pin cushion which showed up in my 50mm comparison. The 24-120 is the winner at 28mm. At 50mm the 24-120 had a repeat performance. I am satisfied the 24-120 could easily replace my 28-70 and give me better results.

At 70mm, compared to the 70-300 VR at f11 in the center, the 24-120 has a slight advantage, corners were too close to call. the 70-300 has always impressed me with it's corner performance and one of the reason I carry it over my AF 80-200 f2.8 (besides weight). At 85mm, the 70-300 has better corners, the 24-120 corners are very good, just not as good as the 70-300. The center frame comparison is the opposite with the 24-120 coming out on top nicely. Most of the CA has disappeared as well. Images at 120mm are close to the same results as 85 with the 24-120 corners not quite as good but still not bad and the center, the 24-120 is better. The 70-300 has virtually no CA and the 24-120 has a tiny bit.

Verdict: I think this lens will be a nice upgrade for a light landscape photography kit with the AF-S 16-35 f4 and the Nikkor AF-S 24-120 f4.