review: Nikon 24mm f/1.4 G AF-S

For a long time the only wide-angle auto-focus prime lens that Nikon had available, was the remarkable 28mm f1.4D … which caused the lens to reach astronomical prices eventually on the used market when it was discontinued.  I sold my copy of the 18mm f1.4 a few years ago – a move I still regret – but I couldn’t pull the trigger on a $4000.00 wide-angle prime lens when Nikon’s wide-angle zooms were so incredible.  The Nikon 14-24mm f2.8 AF-S (B&H), for example, set a new standard for how good a wide-angle zoom can be, surpassing pretty much ever other lens, including primes. But still there was a gap in Nikon’s line-up with a fast aperture wide-angle prime lens.  Until now … enter the Nikon 24mm f1.4 G (B&H) which I was happily able to use at a wedding this past weekend.

Fast lenses (ie, wide aperture lenses), come into their own for a few specific reasons.
The faster aperture allows us:
- more control over depth of field,
- the use of a faster shutter speed,
- the ability to better mix flash and ambient light in low light.

The photo above and below, were taken during a lull in the reception when I took the couple, Kristy and Tom out to the gardens of the venue.  The photo above was lit just by two lamps on either side of the couple and the twinkly lights.  (Click on this link for the wider shot of the area.)  I specifically wanted to see how this lens would perform in low light, and whether it could deliver the goods – sharp images at a wide aperture.  This would allow me to shoot faster than if I had used a tripod.  For the style that I photograph weddings in, a tripod would be very slow to work with … especially when the couple doesn’t want to be detained from the reception for too long.

So I still want a shutter speed that is fast enough to hold steady with ease … and sharp.  I like sharp.

For the photo above, I was able to get a sequence of crisp images at
1/40 @ f1.6 @ 1600 ISO
I still steadied my elbows on my legs where I kneeled down on the ground.  I also posed the couple so that the light falls onto Kristy’s face like that, and not be shrouded in shadow.

For the photo below, we went to the gazebo on the grounds.  I know, I know .. but still, there were lots of twinkly lights we could use for available light photos.

There was enough light like this for photos at 1/40 @ f1.8 @ 1600 ISO

Where a fast aperture lens comes into its own, is with control over depth of field.  My natural inclination is to use (or even accept), the increased depth-of-field that wide-angle lenses give us.  But even with a wide-angle lens, the wide-open aperture gives us the opportunity to bring attention to one specific thing in the frame.  The selective focusing forces our attention to something specific .. in this case, Kristy’s super-cool leopard-spotted shoes.
1/200 @ f2 @ 1000 ISO

Next, two images of Kristy looking at her dress.
The first image was with the Nikon 24mm f1.4 G (B&H)
Using the ample available light in the room: 1/250 @ f1.8 @ 800 ISO

This image below is shot in in my usual way with some bounce flash.  Balancing the flash with the ambient light to give a natural look, while giving me more depth-of-field and/or a higher shutter speed and/or a lower ISO: 1/160 @ f4 @ 800 ISO

The shoes were irresistible.  I positioned them on top of a mirror that I placed on the bed.  I wanted a simpler look than the bed cover.  Reflecting the shoes and the out of focus dress allows our eyes to go to the shoes immediately.  The lamp balances the photo, but preferably needs to be out of focus … which the new Nikon lens allows for.
1/400 @ f1.6 @ 1000 ISO

Just for comparison, how the depth of field would be at f4
Unfortunately, I changed perspective in changing lenses when I did more detail shots with the 24-70mm f2.8 .. but you get the idea.

For detail photos of the wedding cake, I usually resort to using bounce flash that I gel for Tungsten.  Shooting wide open with the Nikon 24mm f1.4 G (B&H), allowed me to just use the available light in the reception room.
1/40 @ f1.4 @ 1600 ISO

Just for comparison, the usual way I would photograph the wedding cake, using directional bounce flash.

1/80 @ f4.5 @ 1600 ISO … TTL flash at +0.7 EV
Nikon 24-70mm f2.8G ED AF-S (B&H)

Using bounce flash of course gives me sharp images for those fast-paced action shots of the wedding cake.

Foregoing flash for a few photos, using the videographer’s light for back-lighting.
1/80 @ f1.4 @ 2000 ISO .. but I did have to pull up the exposure in post by 0.7 EV

Finally, three more photos from the romantic portraits during the night-time outside.

1/60 @ f1.8 @ 1250 ISO

1/40 @ f1.8 @ 1600 ISO

After the photos at the gazebo, Kristy and Tom walked back to the party at the reception.  Just before they reached the reception room,  I asked them to turn around and look at the camera. The two lamp-posts that we used for the top-most photograph, gave us enough light for this photograph.
1/60 @ f1.6 @ 2500 ISO … and it is sharp!
It still blows my mind that with high-ISO capable cameras, along with fast prime lenses, we can pull in light for very usable photographs in such low light.

Overall assessment of the Nikon 24mm f1.4 G

I’m in love.  Fair enough, I’m in love with the Nikon 24-70mm f2.8 and the Nikon 70-200mm f2.8 VR II, as well as the Nikon 85mm f1.4 too.  This new lens by Nikon is long overdue, and in my opinion is an essential lens if you do any kind of work in low light levels, or desire that look that a fast prime lens will give you.

Some photographers have reported copies of this lens with poor focusing, but this lens behaved very well.  Really well.  (I suspect that the problem lenses might have been a specific initial batch that Nikon will sort out.)

The bokeh of this lens is superb.  Smooth.  Definitely smoother than the Nikon 14-24 used at 24mm.  (I did test the lens for its bokeh, but really, who wants to see photographs of the flowers in my garden?)

The lens’ build quality is obvious.  It feels solid, with a chunky heft.

Final summary … this stellar lens continues to build Nikon’s legend, and will be an essential lens for many photographers.

If you would like to purchase this lens, it is available from B&H at this link:
Nikon 24mm f1.4 G

Nikon’s TTL flash system is generally accepted as being quite exceptional.  The camera and speedlight working together according to various algorithms to control the flash exposure.  The TTL flash exposure will depend on various factors – the tonality of the subject and scene; the brightness of the scene;  and how the camera interprets the sections of the metering pattern.  The other factors quite possibly also includes data from the lens.

How these factors inter-relate, we can only guess at.  We can make educated guesses; and many photographers have taken time and effort to do test shoots to see how the cameras and speedlights work.  To make things even more interesting, Nikon offers two modes of TTL flash metering:  TTL and TTL BL.

The way I understand this to work, is that with TTL BL flash metering, the camera takes the ambient light into account when calculating the flash exposure.  With TTL flash metering, the flash metering would appear to be de-coupled from the ambient metering.

Similarly, with Canon, you have Average / Evaluative flash metering for TTL flash.  (This is set on the camera body via the custom functions.)  Again, the way I understand this to work (and I’ll gladly be corrected or fine-tuned on this), is that with Evaluative TTL flash metering, the camera takes the ambient light into account. And with Average TTL flash metering, the camera is less biased by the available light..

So which TTL flash exposure mode to use?  TTL or TLL BL?
In the end, I work in a fairly simplistic way …

With Nikon I keep it to TTL BL, and with Canon I mostly keep it to Evaluative TTL flash metering.
I then adjust my flash exposure compensation to taste.  I do this by pre-judging the tonality of my subject and scene, and making an educated guess as to how much FEC I would need.  Then I fine-tune this by looking at the image on the camera’s preview.

This does strongly imply that you have to ride the FEC as you check your results while you shoot.   Shoot, check and adjust.

Ultimately you HAVE to get used to how your camera and flash responds, by getting familiar with your equipment and shooting a lot.  This to me is the key point here .. being able to roughly predict how my camera will react, and what the flash exposure would be like as a result.  It comes with experience and shooting a lot.

My take on it is that I am better of using one of the modes the majority of the time, and get a feel for how my camera and flash would react. Rather that, than jumping between the modes, and hoping the camera and flash will sort it out, without much input from me as the photographer.

The general approach:
Keep to TTL mode if the flash is a dominant light source.
Change to TTL BL when the flash needs to act as fill-flash or when the flash is in relation to the ambient light .

This is the approach as generally advised on various websites and forums, and is how I used to do it with the D100 and D2H and D2x.

As it is, I mostly keep to TTL-BL on my Nikon D3 bodies. There isn’t a huge difference between TTL and TTL BL modes on the Nikon D3, like there was with the Nikon D100 for example.

With the D100, I would be change between the two modes, picking TTL when the flash was a dominant source of light …  and TTL BL when I wanted fill-flash, or needed the flash exposure in relation to the ambient exposure.  WIth the Nikon D3, I would just use TTL BL mode and adjust from there.

In my opinion, with the latest range of Nikon D-SLRs, it doesn’t make such a difference whether you use TTL or TTL BL.  Since TTL flash metering is dependent on the tonality of your subject / scene (and all the other factors), you will have to ride your FEC anyway.

Once again, this means that there has to be some familiarity in how a specific camera and speedlight works together.  This is how I noticed that I needed to adjust the FEC on my D3 bodies differently than I was used to on the D2x and D2H.

So whichever TTL flash exposure mode you use, for the same situation, you’d just set your FEC to different values … and still get correct exposure by looking at your camera’s preview, and making a visual judgement of how much more or less FEC you need.

We need to accept a certain flexibility in our technique … as opposed to expecting that by meticulously analyzing how our camera and speedlight work in test situations, that we could get every image perfectly exposed from the very first frame.    I believe this one of those areas where there is a danger of over-thinking it and expecting real world situations to fall withing specifically anticipated behaviour … when it is much simpler and better, to simly adjust your FEC as you need, on an on-going basis while you shoot.

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I’ve been very happy with the older 70-200mm f2.8 VR telephoto zoom.  Even even though the edges are softer than the center, it never bothered me.  With weddings, I am mostly only interested in the center portions of the image being super-crisp.  Similarly, the vignetting didn’t bother me.  I usually add more vignetting in post-processing anyway.

Still, I ordered the new Nikon 70-200mm f2.8 AF-S VR II (B&H), and received it on Friday.
It’s beautiful!

Doing a few test shots around the house, and was immediately impressed. It is sharp! I like sharp.  Every thing about this lens is good news.  Focusing is faster, and flare is very well controlled. There has been considerable debate about the shortening of focal length with this lens as you focus closer and closer.  Yet, I would never have noticed it if I hadn’t been told about it. For my work, a total non-issue.

One of the features of this new lens, is that it has even more aggressive vibration reduction / stabilization.  So even though I do take my shutter speeds low at times, my advice is always that if you want sharp images, the first thing you need to do is make your shutter speed much faster.  Now, I’ve never been one to really be able to hold my camera steady without careful control or with steadying myself against a wall. So for me, vibration reduction is an essential feature on long lenses .. especially since I don’t work with a tripod for the style of photography I do.

At a wedding on Saturday, where I was the second shooter for a friend, I was able to see how the VR worked during an actual photo shoot.   During the ceremony I took photos of the guests sitting in the dark temple.  How dark? 1/6 th @ f2.8 @ 2000 ISO kinda dark …

Well, there I was picking off shots, with another camera slung over my right shoulder  - usually a dead certainty for me to start swaying or my right arm starting to shake.

And here’s the 100% crop

Yup, that is 1/6th of a second with the lens zoomed to 200mm, without carefully tucking in my elbows and checking my breathing or my stance, or even steadying myself.
I just stood there, camera to my eye, and let rip.

I have honestly never been able to get images THIS sharp, THIS easily before in low light with a telephoto zoom.  I’m truly impressed.

Obviously, at such slow shutter speeds we’re really pushing the limits .. and therefore not all images will be this sharp.  But my success rate was more than 50% and mostly the images that suffered from blur were because people moved during those slow shutter speeds.

I’ll post a more in-depth review later this month, comparing it to the older lens and the 200mm f2.0

This lens, in my opinion, isn’t just a minor upgrade on the previous version, but an important one.

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Nikon D5000 hands-on review

So with that in mind, when I recently got my hands on a brand-new Nikon D5000, I thought I’d hit the streets and see how it performs.  I took it for a late-night stroll around Times Square in New York, armed only with a Nikon 50mm f1.4G AF-S lens to see how the camera handled the low light levels there.

Nikon D5000 image quality

And of course, late night in Times Square is when you see and even meet the interesting people, the gorgeous people and the usual mix’n'match that Manhattan throws at you.  So let’s see how the 12.3 megapixel Nikon D5000 performed in low light, at high ISO settings; all hand-held, using just the light from the billboards ..

Here is Blueberry Studmuffin, posing for the camera.
1/250th F1.8 @ 1000 ISO; no flash

As you can see, the camera responds fast enough for a candid portrait in low light.
Impressive so far …

Jennifer, a visitor to Times Square, who kindly let me take her photograph.
1/125th @ f2 @ 1000 ISO; no flash

And now I know you’re wondering how the high-ISO noise looks.
So here’s a 100% crop of part of that image ..

I purposely chose a darker part of the image (as processed in ACR / Bridge CS4)  I know that the high-ISO noise appears differently for different tonal values … but this should give you a rough idea how the camera performs at 1000 ISO.

Let’s take it a step up to 1250 ISO ..

1/125th @ f1.6 @ 1250 ISO .. and I never quite did catch his name …

Here’s a 100% crop of some area just above his cap.

Noise is starting to come in, but still nothing I’d be concerned about on a professional shoot.  Which means I am quite impressed with this.

So let’s take it another step up to 1600 ISO for a candid shot  out on the street where Elmo made a shy appearance by now!

Looking at a small portion of that image as a 100% crop ..

Here we are starting to see that mottled effect of high-ISO noise really creeping in.  And yet, I’d say this is about a stop away from the high-ISO killer, the Nikon D3.  In other words, very impressive for a camera that retails at US $730.oo

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Nikon D5000 AF speed and accuracy

Keeping in mind that my day-to-day camera is the Nikon D3, then it will be obvious that no camera that I work with or play with, will quite match up to that beast.  With the Nikon D5000, I had more misses and focusing inaccuracies than I would’ve had with the D3 .. but that is an unfair comparison.

For where the camera is pegged at, the AF speed is solid.  I was able to get many grabshots that were keepers.  Fleeting moments where I just turned the camera towards people and snapped the scene …

1/125th @ f2 @ 1600 IOS

In perspective, I’d say the AF performance is solid, especially considering the light levels I was working in, and shooting with a fast lens where the depth-of-field is very shallow.

btw … One of the billboards threw a heavy red colour cast on them, which I partially corrected for in RAW, hence the background going towards a cyan tint.

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Nikon D5000 handling

The camera is small and lightweight.  Very easy to carry around.  It is too small for my large hands though, and if I were to use the camera regularly, I would be looking at one of the off-brand grips to give something larger for my mitts.

One feature that makes the camera very interesting, is the fold-out LCD panel.

It folds close to protect the LCD, and folds and swivels open to reveal the settings and image preview.  You can use the LiveView function to surreptitiously take candids without taking the camera to your eye.  However, the autofocusing is much slower with LiveView enabled.

And I like that the display on the back also rotates when the camera is rotated.

The Nikon D5000 has all the exposure modes you could ever want, from fully manual, to Scene modes.  This is a camera that would allow you to grow.

Shooting in manual exposure mode is more clumsy than in a higher-level camera, in that you have to push more buttons to change settings.  The rear dial controls the shutter speed.  But by pressing the +/- button and simulataneously controlling the rear dial, you change the aperture.  Changing the ISO is slow though, since you have to go through the menu.  Most people won’t find this an issue, but if you want easier accessto change the ISO on the move, then you can change custom function 1, so that the Function button (Fn) controls the ISO.

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Nikon D5000 specifications (a quick overview)

The Nikon D5000 features also includes the following specs:
-  movie mode, in the AVI format at 720p and mono audio,
- a self-cleaning sensor,
- Live View with contrast-detect AF, face detection and subject tracking,
- 11 AF points with 3D tracking,
- 4 frames per second continuous,
- in-camera retouching.

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Nikon D5000 – final comments

It should be obvious that I found the Nikon D5000 to be a likable little camera with surprisingly good image quality.  And that should be the most important aspect in deciding on a camera.

For another thorough review of the Nikon D5000, which includes a comparison with the Nikon D3, check Frank Nuernberger’s site.   You might just be surprised.

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If you are interested, this camera is available from all camera retailers, including B&H and Amazon:

.. will be the one where the camera manufacturers allow me some input into the matter.  If only Nikon and Canon (and Pentax and Fuji and everyone else) would just gather around a table and listen to me.  If only …

When I get to handle a new camera, I often wonder why the manufacturers designed a camera the specific way they did.  It might be the strange placement of a button or control; or the omission of a feature, or even the deliberate hampering of features in the non-pro bodies.  Sometimes I just wish they would bring in a feature that I love on another camera.

Here are the gear-head musings on what I would insist the Best Camera in the World would be like, if I had any say in it.  (Sorry, but that means this posting will have a lot of words and no images this time around.)

Firstly, the Best Camera in the World would have to be a modern full-frame digital SLR camera (D-SLR)  for the combination of accessibility, versatility and image quality.

I recently moved from using Canon 1D mkIII bodies to using Nikon D3 bodies.  Personally, I think the Nikon D3 is the best camera that has ever been made to date.   But there are a number of pros and cons, and not everything falls in favour of the Nikon D3.  Therefore most of this post is a comparison between these two cameras, and which things from either camera I would want to see in the Best Camera in the World.

But before we even get there, I have to touch on something - Exposure Modes.  Both these cameras fall down sorely when it comes to how the exposure modes are accessed.  Pentax’s ingenuity here towers over them in this regard.

Exposure modes:  Hyper-Program and Hyper-Manual

When Pentax brought out the Pentax Z-1 / PZ-1 in the early 90′s, they had re-thought the way a camera’s exposure modes should to be implemented, in a most inspired way.  They had the usual range of exposures modes we all know, such as Shutter Priority (Tv) and Aperture Priority (Av).   But Program mode became Hyper-Program; and Manual mode became Hyper-Manual.  Sure this sounded gimmicky, until you handled the camera and realised what they achieved.

Hyper-Program worked like Program mode, except that if you dialed the shutter button, it would immediately change to Shutter Priority (Tv), as you change to specific shutter speeds.  Similarly, if you dialled the Aperture dial, then the camera instantly changed to Aperture Priority mode (Av), as you set the aperture.  No need to switch mode dials on the top of the camera.  You just turned either the aperture dial or shutter speed dial to change between the modes at will. And if you wanted to return to the usual Program mode, you just hit the * (star) button.   Intuitive and simple.   (And no, this is completely different than Program Shift.)

Hyper-Manual worked a similar elegant magic in how you controlled the camera’s manual exposure mode.  Let’s say you rely on your built-in meter in this scenario.  If you use any other camera in manual exposure mode, you have to dial the shutter button and aperture button to get to the correct combination for proper exposure.  With Hyper-Manual, you just hit the * button, and the camera entered a combination of settings for you, depending on where you pointed your camera.  This combination of settings could be according to a Program-mode line, or according to the shutter speed your camera happened to be at; or the aperture your camera happened to be at.  (This was set deeper in the menu according to your preference.)

Let’s say you knew you’d be working at f2.8 .. then you’d just hit the * button and the appropriate shutter speed was entered for you.  Perfect for working with the camera’s spot-meter.  If you’ve ever tried to spot-meter with a long lens on your camera while hand-holding it, AND looking at your metering display .. then you know how tough it is.  But with Hyper-Manual mode, you just hit the * button while looking precisely where your spot-meter is aiming.  Much faster.  You just hit one button with your thumb, and you’re set.

Now, should you decide you have the correct exposure, but want to change your shutter speed or aperture, then you hit the Exposure Lock button, and change either the aperture or shutter speed .. and the other setting will follow in relation to the metering value that was entered.

With any other camera, let’s say you have 1/500th @ f2.8 but you want 1/200th @ f4.5 .. then you’d have to turn both dials by the same amount of clicks.  But with Hyper-Manual mode, you lock the exposure combination, and just change the one dial. Either one.  Doesn’t matter.

The way these two modes work is such an incredible stroke of genius, that any camera that doesn’t have those two modes, is severely hampered already.  The Best Camera in the World needs to have Pentax’s Hyper-Program and Hyper-Manual modes.

Now for the rest of the handling, features, buttons and dials …

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The Best Camera in the World also needs …

As mentioned earlier, I’ve used the Canon 1D mk3 bodies extensively, and have now moved to using Nikon D3 bodies.  As wonderful as the Nikon D3 is (and I certainly have strong reasons for the move), the D3 could be improved upon further:

Things that the 1D mk3 has, but are (sadly) lacking on the D3:

• flash exposure compensation on the body.
• flash exposure compensation read-out in the viewfinder.  Another big plus for the Canon.
• being able to select which card I am writing to, and looking at.  You can’t do that with the D3. This is far better thought-out and implemented on the 1D mk3.
• the way you can speedily flick through images with the rear dial. I loved that.
• I preferred the more sensible layout of the AF sensors in the viewfinder of the 1D mk3. (Nikon fans are going to kill me for even saying this.)
• the mk3 has a mode where the shutter noise is quieter. Not quite silent, but definitely quieter.
• the 1D mk3 sensor is self-cleaning .. and it works!  The D3 has nothing. :-/

Things that are better on the D3 …

• AF speed and accuracy, especially in low light.  Seriously, the Nikon D3 is better here.
• high-ISO noise is better with the D3 than the 1D mk3. It’s not a huge jump, but higher ISOs look cleaner on the D3.
• I can select flash OFF with a simple touch of a button on the front of the D3.
• I can program the DoF button for other functions, such as changing to spot-metering momentarily.
• custom function d7 allows the LCDs to light up any time I touch any button.   This is a big deal for me. I hated how the LCD light button was implemented on the 1D mk3 and Canon 5D.
• the feel of the Nikon D3.   It just wants to be gripped in your hands.

Things I hate about the D3 ..

• the positioning of the lever on the front of the camera where you select between Single / Continuous / Manual focusing.  It can easily be knocked out of position.  The way Canon implements this is much better.
• the image type button (raw/jpg) is riiiiight next to the ISO button and WB button.  It’s just begging for you to switch to small JPG instead of RAW during some important point during a shoot.  This is a huge oversight in the controls of the D3.  There should be massive separation between controls which are often adjusted such as ISO and WB … and settings that are crucial, but not adjusted that often, such as selecting the image type and quality (raw/jpg).

Things I loooove about the D3 ..

• I can use Nikon zooms.  The Nikon 24-70mm f2.8 is the best mid-range zoom I have used, and the Nikon 14-24mm f2.8 is a thing of unparalleled beauty.

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That about covers it as a comparison between these two cameras here.  Some pros and cons to both these top-of-the-line bodies.  From these lists of things I love and hate about either of those two cameras, you can immediately see what I would like to be included for the Best Camera in the World.  I want a hybrid between these two cameras … with Pentax’s Hyper-Program and Hyper-Manual modes.

Ideally, all the camera manufacturer would come together and ask my input on designing their next camera.  So if any of the designing engineers at Canon and Nikon are reading this .. give me a call.  I’m waiting.

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Now, having shot primarily Nikon for a few years (D100 / D2H / D2x), and then Canon (mk2 / mk2N / 5D / mk3), and now Nikon again (D3) … I have this observation about Canon’s flash system vs Nikon’s flash system … they are different. 

Disregarding wireless TTL flash, where Nikon is ahead in simplicity of operation and how much control you have – if we just look at TTL flash in various situations – I honestly can’t say the one is better than the other.  Just that they are different.  So I have to go against the common wisdom there.

But they are different in ways that aren’t easy to quantify.  Where I’m used to Canon’s TTL flash responding in a certain way during different situations, the Nikon flash needs different flash exposure compensation.  So it responds differently, and I have to get used to it again.

This is going to be a long post and I’m afraid the point of what I am trying to say might get lost along the way.  So here it is right at the start already:  When it comes to any particular TTL flash system, just become familiar with it.  You can then make it work. 
As simple a point as this … get used to how your particular camera and flash respond, and adjust your technique accordingly.

So, down to business …

One thing I noticed during the workshops that I present, where everyone has a different camera, is that Canon and Nikon responds differently with fill-flash.  And I wanted to explain some of the differences that I observed, in a blog posting here, so I took a series of images of one of the models, using a Nikon D3 and a Canon 5D mk2.

But before we get there, here are a few disclaimers:
1. This is not a Nikon versus Canon argument.
2. I have no idea how any camera handles TTL flash while the camera is an auto mode of any kind.  I also have no desire to learn about this and figure out how the engineers wrote their algorithms for flash when using your camera in Aperture Priority etc.

I use TTL flash in a fairly simplistic way:
I figure out what my ambient light is doing, and figure out what I want my ambient exposure settings to be, and then set my camera accordingly in manual exposure mode …  adding some amount of TTL flash to this, whether:
a. fill-flash to a certain extent, or
b. flash liberally mixed with the ambient light, or
c. have the ambient exposure low and then over-riding it completely with flash.

These decisions usually translate to these broad methods of adding flash to ambient:
a. get a good base exposure for my ambient light, and then add fill-flash to some degree, or
b. get an ambient exposure that is decent, but still under-exposed to a small extent, and then add a fair amount of flash to it.
c. under-expose the ambient light because it isn’t ideal, and then have my flash as my main source of light, over-riding the ambient light completely.

This simplicity of using manual exposure mode, and then adding a certain amount of TTL flash to it, works for me.  I decide how much ambient light I want to record, and then add flash to it.

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With the workshops, there is a certain technical exercise that I have the attendees do, in order for them to get grips with metering techniques, including selective in-camera metering; the use of the histogram; and then finally adding TTL fill-flash to reduce the contrast.

Here is some images from what would be a typical sequence of images:

To start off with, a window-lit portrait of the model with the exposure determined with the histogram for each camera.

As you can see, exposures are good in that I am not losing detail on her shirt.

image on left:  Canon 5D mk2;  Canon 85mm f1.2 II;  580EX II
image on right: Nikon D3;  Nikon 28-70mm f2.8 AF-S;  SB-900;  TTL BL
(click on these images to see a slightly larger version)

There is going to be some contrast differences and colour differences between the two cameras - mainly because  I haven’t properly set up ACR yet for my tastes for the Canon 5D mk2.  Therefore the 5D mk2 images might lack some punch here in comparison to the D3, but that is entirely my doing.  But the difference in colour, etc, is not the discussion here.

Also, with these images, there is 1/3rd stop difference in the settings, but I went by the histogram to get correct exposure via the brightest part of her shirt.

The particular sequence that I do, is with the model looking straight at the camera, with the one side of her face lit by the window-light, and the shadow side of her face lit by varying degrees of flash.

Here is the sequence for the Canon 5D mk2 and 580EX II, changing no settings other than FEC:
The flash metering was set to Evaluative in the camera.  In my experience, Average flash metering makes the TTL flash too strong with the 5D / mk2 / mk2N / mk3 bodies that I have used, for times when I want fill-flash.

Canon: no flash
So here there is a lot of contrast because of the inside of the room not reflecting much ambient light back onto her.
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Canon: FEC -EV
The bounced flash lifts the shadow areas a little bit.  Just perceptible.
This, imho, is where -3EV FEC needs to reside .. adding just a touch of fill-flash without being obvious.
I like this.
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Canon: -2EV FEC
This looks the best to my eyes .. the contrast is lifted juuuust enough without anyone being wiser that flash was used.
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Canon: -1EV FEC
The shadow areas are now significantly brighter.
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Canon: 0EV
The flash is now adding nearly as much light as the ambient. (It will still be about a stop lower than ambient because of the brighter tones of her shirt and skin pulling down the automatic-metered TTL flash exposure.)
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OK .. so far so good.
There is a linear progression here that is predictable within the usual constraints of  TTL flash exposure.  Meaning, we have to keep in mind that the tonality of the subject and scene WILL affect our exposure. But .. we’re wise to this and can compensate and even pre-evaluate this with some experience.

Let’s see what the Nikon D3 does.
Here’s the D3 with the SB-900 in exactly the same situation, with -3EV dialed in on the flash in TTL BL mode:

It looks good, but imho, is too much flash for a setting of -3EV.

Where I think it should’ve been is around here with what I get at -5EV cumulative FEC + overall exposure comp.

See? Now we’re getting back to where the flash is barely perceptible .. which, again, IMHO, is where -3EV FEC should reside.
I want flash to be juuuust perceptible at this point.

But what I’ve found with my Nikon D3 bodies, when used with the SB-900,  that the fill-flash flash is still too much, even when turned down -3EV on the flash exposure compensation.  I’ve found similar with the various Nikon D300 and Nikon D700 bodies that attendees to my workshops use.  In other words, this isn’t just my cameras – this is repeatable with other cameras too.

Here’s the set-up:

With the model close to a window, and positioning her so that we have the typical window-lit portrait, our light is great. No flash needed.

[ Nikon D3; Nikon 24-70mm f2.8 AF-S; no flash ]

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Now, the moment our subject looks at the camera, we have strong contrast, with one side of her face being much darker.  If the room was less bright and reflected less light on her, the difference would be more stark.  The image here isn’t too contrasty, so it will still work .. but I would still prefer a touch less contrast and more light on the shadow side.

[ Nikon D3; Nikon 24-70mm f2.8 AF-S; no flash ]

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I can now control the contrast with flash …

I do this by bouncing flash into the large room.  No specific wall or ceiling really – just into the room behind me and to my right.  I can control how much flash by adjusting the flash exposure compensation. (FEC).  Ideally I want just a touch of flash … so here I dialled down the flash as low as I could on the speedlight itself.

[ Nikon D3;  Nikon 24-70mm f2.8 AF-S;  SB-900;  FEC -3EV]

This looks good, but is in my opinion too much flash for what should be a minimum .. ie, the flash (imho) should’ve been barely perceptible at a FEC value of -3EV.

So how to pull the TTL flash exposure down even more?

Here’s the trick … exposure compensation on the Nikon bodies are cumulative.

With the Nikon D700,  D300, D200, etc .. where you have flash exposure compensation on the body (that little button to the left of the prism), and you have flash exposure compensation on the speedlight .. you can double-dial the FEC down. 

So it is now possible for you to dial down  say, -2EV FEC on the body, and then an additional variable amount on the speedlight.   So you can now reach -5 EV (or less) .. but around -5EV on the Nikons are were I feel the flash is barely perceptible.

With the Nikon D3 and D2x, it is a little trickier. That the pro bodies don’t have flash exposure compensation on the body itself, is a huge oversight in the design of these wonderful machines.  The work-around that I have, relies on the fact that I only shoot in manual exposure mode on the camera.  So I can now turn down my overall exposure compensation (which does affect my camera’s light meter while in manual exposure mode!), and then turn down my flash exposure compensation on my speedlight.

This way I was able to get to -5EV FEC on the following image:

[ Nikon D3;  Nikon 24-70mm f2.8 AF-S;  SB-900;  FEC -5EV]

This for me is a good starting point if I wanted to play around and find my preference for fill-flash in this scenario.

How did I arrive at -5EV as a base?  That’s part of the next blog entry on how Canon and Nikon’s TTL flash metering differs.
Hang in there .. this gets interesting.

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If you found this and other articles valuable, then using these affiliate links to order equipment & any other goodies, would be a welcome way of helping towards the cost of hosting this site.
Thank you!

I recently allowed myself a vanity purchase … the Nikon 200mm f2 AF-S VR lens.

Last year some time, after seeing another photographer’s results with the Canon 200mm f2 IS, I was curious enough to rent one, check it out, and then lust after one. I posted a write-up and some images at the time. What got to me was how insanely sharp the lens was at f2 .. and of course the incredible dream-like bokeh at f2 imparting an impressionistic appearance to the background.

With me reverting to Nikon recently, I picked up a used copy of Nikon 200mm f2 VR instead. But it’s been too cold outside to try this lens out .. until yesterday when there was a slight thaw in the temperatures. Since I really liked the results when I photographed Jackie with the Canon 200mm f2 IS, using only the lights in Times Square … I decided to meet up with a new model in Times Square last night to try out the Nikon 200mm f2 VR.

I really liked Lauren’s looks, and thought that her Goth sense of style and dress, along with the lights in Times Square, would give a Blade Runner-like feel to the images.   The light is just whatever light there is in Times Square.  Which is a LOT of light from all the neon signs.  And it constantly changes.   So no flash.  There was some available light at the beginning of the shoot, and you can see this in the half-length portrait of Lauren.  But in the image at the top, it was all due to the neon lights in Times Square.

All of the images were at f2, handheld at shutter speeds varying as either 1/250th or 1/200th .. all at 800 ISO with the Nikon D3.

I did take care in positioning her so that we’d get side-light from some of the larger neon signs closer to street level.  So it isn’t entirely random.  In the same way that I would choose the direction of the light when using flash, (and ambient light for that matter), I was deliberate in where I positioned Lauren.  In a few of the images, I had moved her more forward of the main bank of neon lights close to us, so that the light would come from her side and from behind her.  In that way I avoided getting lighting that appeared too flat.

Similarly, the backgrounds were chosen deliberately.  Sure, I had no control over when cars would steam by and their headlights cause a beautiful defocused glow in the background .. but the bright colourful backgrounds were quite deliberately chosen in how I positioned myself and Lauren.  I avoided dark empty backgrounds.

Getting perfect skin tones are of course near impossible with all the neon lights constantly changing. So I tried for good skin tones per image. So there will be some variation.

I did some slight skin retouching, since I believe that very few people would be flattered with close-up photos with optics that are this sharp. But I did mask the background.  So the backgrounds are what they are .. un-retouched.

And the first image again, at a smaller size which might make it easier to view on some screens:

And here is the beastie:  the Nikon 200mm f2 AF-S VR lens

First impression?  It is huge.  It is bulky and heavy.  Have I mentioned that it is huge and heavy?  Fortunately, on the recommendation of others, I bought the Kirk SGH-1 Super Grip Handle, and the Kirk LP-51 Quick Release Plate and Foot … so that I could carry the lens by the handle.  The lens is so heavy that it just feels like you’d damage the camera if you somehow only held this combo by the camera alone.

Optically the results are truly impressive.  Perhaps that is a wild claim since I’ve only used it af f2 … but I do believe that this kind of optic was meant to be used at f2.  And as you can see from the images, the bokeh of this lens is just beautiful. (And btw, don’t confuse thin DoF with great bokeh … they are not quite the same thing.)

 What else to say but that I am in love with this lens?

When my D3 first arrived, it was with huge excitement that I unpacked it, fired off a few frames just for the thrill of hearing the shutter whir by in continuous high-speed drive … and then proceeded to change the settings to my preferences with Nikon cameras.  So here is an overview of my preferences for the D3, and the settings that I changed immediately upon getting the camera out of the box:

(And here’s the link if you’d like to order the Nikon D3 from B&H.)
Oh, go on, you know you want one!

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Playback Menu:

Display mode – Highlights enabled.
It is absolutely essential to have the highlights enabled as part of an exposure metering method.

Image Review – On

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Shooting Menu:

File naming
I need all my cameras to have a unique file name.  It makes post-production workflow simpler if the images already have a unique name directly out of the camera.

Image Quality - RAW
Really, JPG isn’t an option for me.

NEF (RAW) recording 
 - Lossless compressed RAW
 - 12-bit depth

I chose 12-bit depth over 14 bits (for now), even though some tests (such as this thoughtful consideration by Bob Johnson) show that using 14 bits give slightly better shadow detail.

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My Menu:

• Format Memory Card

It is useful to have this setting immediately available when formatting numerous cards.  (Although I have to say that due to my paranoia, I never format a card while on a shoot. Always before the time as part of the preparation for a shoot.)

• change main / sub

After so many years of shooting with Canon D-SLRs, I have a hard time adapting to having the shutter dial on the rear, and the aperture on the front.  So for more instinctive shooting habits right now, I have the shutter dial and aperture dials swapped around from the Nikon default.

• Lock mirror up for cleaning
• Battery info
• World time

These are just general house-keeping settings that I like having grouped together.

• CF a8 – AF point selection

I constantly flip between the 51 point and 11 point selection, although I most often keep the camera to 11 points selection.

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Custom Settings Menu:

a1 .. AF-C priority selection

AF-C is the Continuous Focusing mode, where the shutter can be tripped whether the subject is in focus or not, ie, Release Priority.  With this setting, you can turn AF-C into Focus Priority.

default : Release button (ie, FPS is maintained),
my preference : Release + focus

With this custom setting the photographer now has a very powerful option – to change the usual behaviour of AF-C mode in only tripping the shutter when the subject is in focus. Although I’m not sure that is how most photographers would want to use Continuous Focusing, I find it reassuring that the camera will only trip once the subject is in focus.

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a3 .. Dynamic AF area

With this setting the number of AF points can be selected.

default : 9 points,
my preference : 51 points (3D-tracking).

The 51 point, 3-D tracking mode works amazingly well in tracking moving objects when shooting in AF-C (servo mode), and setting the Auto Focus mode to Dynamic Area (the center selection).

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a8 .. AF point selection

This option allows you to choose either 51 or 11 AF points for manual focus-point selection.

default : 51 points,
my preference : both.

I flip between the two selections, so have this custom function accessible in the My Menu option.

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a9 .. AF-ON button

Customize the function of the AF-ON button.

default : AF-ON,
my preference : AF lock only.

I prefer using the shutter button to auto-focus and then lock-and-hold focus, instead of using the AF-On button.  I don’t use AE lock feature since I shoot nearly exclusively in manual exposure mode, but at times I do want to lock my focus separately from the shutter button, and therefore I have this custom function set this way.

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b1 .. ISO sensitivity step value  –  1/3rd stop increments
b2 .. EV steps for exposure control  –  1/3rd stop increments
b3 .. Exposure comp / fine tune  –  1/3rd stop increments

Keeping your exposure controls in 1/3rd stop increments allow for finer tuning of exposure.

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c4 .. Monitor Off delay

With this setting you control how long the LCD display stays up.

default : 20 secs,
my preference : 1 min.

I like seeing what I just photographed, and also, the histogram and blinking highlights are indispensable tools. Therefore I *need* to chimp. Having a much longer LCD display time helps.

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d5 .. Control Panel / Viewfinder

With this you dictate whether you see your ISO setting or Exposures Remaining in the rear control LCD, and whether you see Frame Count or Exposures Remaining in the viewfinder.

Viewfinder Display:
default : Frame Count,
my preference : Exposures Remaining.

I’m not interested in my frame count while shooting, but the Exposures Remaining is directly useful information I need to see in the viewfinder.

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d7 .. LCD illumination

This option controls whether the LCD lights up only when the power switch is rotated to the lamp position, or when any button is pressed.

default : Off,
my preference : On.

I most often work in dim areas, and I want to be able to read my LCD without having to precisely select the Lamp button. With this function selected, the LCD will light up whenever I hit any of the camera controls. It just makes it easier for me when the LCD lights up as soon as I handle the camera – then it doesn’t become an extra control that I have to push. 

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e3 .. Flash sync speed

This option controls whether Auto FP (High-Speed Flash Sync) is automatically enabled for shutter speeds over max sync speed.

default : 1/250th
my preference : 1/250th Auto FP.

I do know that the flash’s range is halved by going into Auto FP mode, and therefore stay at 1/250th or below if I need the most output from my speedlight. But I also like the option of not hitting that ceiling of 1/250th if for some reason I need to go to a higher shutter speed while using an on-camera speedlight.

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f1 .. Multi selector center button

With this custom function, the operation of the center button of the multi-selector is defined for the Shooting Mode and Playback Mode.

Shooting Mode :
default : Select center AF point,
my preference : default

I like the default here over the other choice (Illuminate AF area), since this allows me to instantly re-select the center autofocus sensor if I have been using another focusing sensor instead.

Playback Mode :
default : Thumbnail on/off,
my preference : Zoom on/off.

I really like to be able to see a higher magnification of the image. And with the way the joystick works of the multi-selector, it is easy enough to move to any part of the image. Sweet!

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f4 .. Assign FUNC. button

This option allows a variety of functions to be assigned to the FUNC button. It is in settings like this, that helps make the D3 shine as a powerful tool for the photographer.

FUNC button press
 - default : none
 - my preference : Flash Off (the Speedlight is disabled

This setting is entirely personal preference, since there are a variety of options here that could be put to great use by different photographers. I like the idea of instantaneously being able to disable the flash by pressing the FUNC button, instead of having to pull my eye away from the viewfinder to switch the Speedlight off.

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f5 .. Assign preview button

With this control, you set what the action that preview button will perform.  It has a similar set of possibilities as the FUNC button.

Preview button press
 - my preference : Spot-metering

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f6 .. Assign AE-L / AF-L button

Similarly here, with this button you set whether the AE-L / AF-L button performs the default function of locking exposure and focus, or any of the other options, similar to that of the FUNC button.

My preference would be to keep this button purely as a Focus Lock (AF-L) button, since I only shoot in manual exposure mode.  Also, since focusing and exposure have nothing to do with each other, these two functions shouldn’t really be assigned to the same button.

I now use this button to disable my flash.  Originally I used the Func button, but it gave me an akward hold on the camera when I used my ring finger to keep the button in.  Much easier for me now is to use the AE-L / AF-L button to disable the flash.

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f9 .. No memory card ?

This option disables the shutter release if there is no CF card.

default : Enable release,
my recommendation : Release locked.

Changing away from default makes a lot of sense. You really don’t want to get in to a situation where you think you are capturing images, but in fact aren’t.  Of course, if you shoot tethered, this might be an option for you.

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f10 .. Reverse indicators

With this custom setting, the direction of the exposure meter display in the camera can be changed.

default:            +  —0—  -
my preference: -  —0—  +

This has long bugged me that the Nikon metering displays are non-intuitive about their direction. I know the intention is that the metering display shows the way the controls should be turned, but it still makes more sense to have the + on the right-hand side for display. That’s the way we are trained to see an increase, or a plus.

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Here is an overview of my preferences for the D700, and the settings that I changed immediately upon getting the camera out of the box:

(And here’s the link if you’d like to order the D700 from B&H.)

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Playback Menu:

Display mode – Highlights enabled.
It is absolutely essential to have the highlights enabled as part of an exposure metering method.

Image Review – On

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Shooting Menu:

File naming
I need all my cameras to have a unique file name.  It makes post-production workflow simpler if the images already have a unique name directly out of the camera.

Image Quality - RAW
Simply put, JPG isn’t an option for me. While there are some photographers who would argue the entire RAW vs JPG debate, it really is a trivial one, since the answer is RAW.

NEF (RAW) recording
- Lossless compressed RAW
- 12-bit depth

I chose 12-bit depth over 14 bits (for now), even though some tests (such as this thoughtful consideration by Bob Johnson) show that using 14 bits give slightly better shadow detail.

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My Menu:

• custom function a8 – AF point selection

I constantly flip between the 51 point and 11 point selection, although I most often keep the camera to 11 points selection.

• change main / sub

After so many years of shooting with Canon D-SLRs, I have a hard time adapting to having the shutter dial on the rear, and the aperture on the front.  So for more instinctive shooting habits right now, I have the shutter dial and aperture dials swapped around from the Nikon default.

• Lock mirror up for cleaning
• Battery info
• World time

These are just general house-keeping settings that I like having grouped together.

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.

Custom Settings Menu:

a1 .. AF-C priority selection

AF-C is the Continuous Focusing mode, where the shutter can be tripped whether the subject is in focus or not, ie, Release Priority.  With this setting, you can turn AF-C into Focus Priority.

default : Release button (ie, FPS is maintained),
my preference : Release + focus

With this custom setting the photographer now has a very powerful option – to change the usual behaviour of AF-C mode in only tripping the shutter when the subject is in focus. Although I’m not sure that is how most photographers would want to use Continuous Focusing, I find it reassuring that the camera will only trip once the subject is in focus.

a3 .. Dynamic AF area

With this setting the number of AF points can be selected.

default : 9 points,
my preference : 51 points (3D-tracking).

The 51 point, 3-D tracking mode works amazingly well in tracking moving objects when shooting in AF-C (servo mode), and setting the Auto Focus mode to Dynamic Area (the center selection).

a8 .. AF point selection

This option allows you to choose either 51 or 11 AF points for manual focus-point selection.

default : 51 points,
my preference : both.

I flip between the two selections, so have this custom function accessible in the My Menu option.

a9 .. Built-in AF assist illuminator

This option controls whether the auto-focus assist light comes on in low light to help auto-focus latch onto the subject.

default : ON,
my preference : OFF.

The bright lamp light can be annoying and intrusive at inopportune moments, so I keep it switched off.

b1 .. ISO sensitivity step value  – 1/3rd stop increments
b2 .. EV steps for exposure control  – 1/3rd stop increments
b3 .. Exposure comp / fine tune  – 1/3rd stop increments

Keeping your exposure controls in 1/3rd stop increments allow for finer tuning of exposure.

c4 .. Monitor Off

With this setting you control how long the LCD display stays up.

default : 20 secs,
my preference : 1 min.

I’m an incorrigible chimper. I like seeing what I just photographed, and also, the histogram and blinking highlights are indispensable tools. Therefore I *need* to chimp. Having a much longer LCD display time helps.

d1 .. Beep

This controls how loud / soft the camera beeps … or not, when acquiring focus or when using the self-timer. It is also used for a low shutter speed warning.

default : high,
my preference : off.

Personal preference again, but I prefer my camera to be quiet.

d8 .. LCD illumination

This option controls whether the LCD lights up only when the power switch is rotated to the lamp position, or when any button is pressed.

default : Off,
my preference : On.

I most often work in dim areas, and I want to be able to read my LCD without having to precisely select the Lamp button. With this function selected, the LCD will light up whenever I hit any of the D700 camera controls. It just makes it easier for me when the LCD lights up as soon as I handle the camera – then it doesn’t become an extra control that I have to push.

e1 .. Flash sync speed

This option controls whether Auto FP (High-Speed Flash Sync) is automatically enabled for shutter speeds over max sync speed.

default : 1/250th
my preference : 1/250th Auto FP.

I do know that the flash’s range is halved by going into Auto FP mode, and therefore stay at 1/250th or below if I need the most output from my speedlight. But I also like the option of not hitting that ceiling of 1/250th if for some reason I need to go to a higher shutter speed while using an on-camera speedlight.

e3 .. Flash control for built-in flash

This option controls which mode the built-in flash will use.

default : TTL
my recommendation : Commander mode.

Your decision here will rest on whether you need your built-in flash as the main flash or fill-flash (and then TTL would usually make the most sense), or whether you want to use the strobe as the Commander strobe to control a Slave flashgun (a remotely triggered SB-600 / SB-800).

My recommendation would be to keep it to the Commander mode. Since the built-in flash is about the worst kind of way to use flash, you really should be using a larger external strobe to give you more options in using flash.

With the built-in flash set to Commander mode, you can use your external Nikon strobe, and when you need wireless TTL flash, you can simply remove your Nikon Speedlight and you are immediately set to control the Nikon Speedlight in Commander mode.

f2 .. Multi selector center button

With this custom function, the operation of the center button of the multi-selector is defined for the Shooting Mode and Playback Mode.

Shooting Mode :
default : Select center AF point,
my preference : default

I like the default here over the other choice (Illuminate AF area), since this allows me to instantly re-select the center autofocus sensor if I have been using another focusing sensor instead.

Playback Mode :
default : Thumbnail on/off,
my preference : Zoom on/off.

I really like to be able to see a higher magnification of the image. And with the way the joystick works of the multi-selector, it is easy enough to move to any part of the image. Sweet!

f5 .. Assign FUNC. button

This option allows a variety of functions to be assigned to the FUNC button. It is in settings like this, that helps make the D700 shine as a powerful tool for the photographer.

FUNC button press
- default : none
- my preference : Flash Off (the Speedlight is disabled

This setting is entirely personal preference, since there are a variety of options here that could be put to great use by different photographers. I like the idea of instantaneously being able to disable the flash by pressing the FUNC button, instead of having to pull my eye away from the viewfinder to switch the Speedlight off.

f6 .. Assign preview button

With this control, you set what the action that preview button will perform.  It has a similar set of possibilities as the FUNC button.

Preview button press
- my preference : Spot-metering

f7 .. Assign AE-L / AF-L button

Similarly here, with this button you set whether the AE-L / AF-L button performs the default function of locking exposure and focus, or any of the other options, similar to that of the FUNC button.

My preference would be to keep this button purely as a Focus Lock (AF-L) button, since I only shoot in manual exposure mode.  Also, since focusing and exposure have nothing to do with each other, these two functions shouldn’t really be assigned to the same button.

I now use this button to disable my flash.  Originally I used the Func button, but it gave me an akward hold on the camera when I used my ring finger to keep the button in.  Much easier for me now is to use the AE-L / AF-L button to disable the flash.

f11 .. No memory card ?

This option disables the shutter release if there is no CF card.

default : Enable release,
my recommendation : Release locked.

Changing away from default makes a lot of sense. You really don’t want to get in to a situation where you think you are capturing images, but in fact aren’t.  Of course, if you shoot tethered, this might be an option for you.

f12 .. Reverse indicators

With this custom setting, the direction of the exposure meter display in the camera can be changed.

default:            + —0— -
my preference: - —0— +

This has long bugged me that the Nikon metering displays are non-intuitive about their direction. I know the intention is that the metering display shows the way the controls should be turned, but it still makes more sense to have the + on the right-hand side for display. That’s the way we are trained to see an increase, or a plus.

If you found this and other articles valuable, then using these affiliate links to order equipment & any other goodies, would be a welcome way of helping towards the cost of hosting this site.
Thank you!