Nikon Pro Direct to your door. For just £18*a year you can get the Spring, Summer and Winter editions of the award winning Nikon Pro magazine delivered direct. Nikon Pro. likes. Nikon Pro is the tri-yearly print and iPad magazine and for professional photographers everywhere. With latest product news. In the winter issue of Nikon Pro magazine, we caught up with Slovenian sports photographer Jure Makovec, a dedicated Nikon user since he was loaned a D3S .

Nikon Pro Magazine Pdf

Language:English, Indonesian, Portuguese
Genre:Science & Research
Published (Last):24.02.2016
ePub File Size:23.47 MB
PDF File Size:20.35 MB
Distribution:Free* [*Register to download]
Uploaded by: DIANNE

As a % Nikon-centric magazine, we are rather at the mercy of one big brand .. Every issue we pair an N-Photo reader with a top Nikon pro. The Nikon Owner magazine is a worldwide publication with the purpose of uniting Nikon owners and bringing them unique free offers that will increase their skill. 35 issues for download as PDF to date. I love this one! If you try just one of these magazine links, please start with Photography BB Online!.

Each time I went back. Maybe he even sets fire to his dirty clothes! One night he was wearing an awesome shirt and trainers. In fact.

I spotted this chicken-smoking guy at the end of the road. By controlling time you influence emotions. The relatively short exposures show energy and motion. Each one of these time segments. Using slower shutter speeds P can transform a scene to express action. All it takes is a tripod. How long have you got? How do we decide what shutter speed to use for a specific desired effect?

Make sure that you lock the mirror up when using a telephoto. In this image. If you study a series of waves. When you think about all of the pictures that are made in the world.

It can take several attempts to get the right wave. It states we slow the shutter speed down and leave the shutter open longer. A three-stop ND grad over the sky balanced the exposure with the foreground.

Backlighting will also help to make the wave stand out. Pro Tip When the full moon is setting in the west. Seascapes open numerous possibilities for using slower shutter speeds. Special feature Long exposures time zone It is never random. With just a few clicks of the dial. Timing plays an important part in creating a successful image. This is mostly because the photographers required a fast enough shutter speed to enable them to hold the camera rather than use a tripod.

When you are using slower shutter speeds. Shutter speed. If you use too long an exposure. When you want to capture the drama of a cloud formation by freezing the clouds. Even so. Clouds look good with either a short enough exposure to freeze them or a really long exposure to get lots of movement see page I waited until they were over the mountains to give the impression of an erupting volcano.

N-Photo: the Nikon magazine

Too long an exposure would also run the risk of losing texture in the water and burning out highlights. As there was only a little water flowing in the river. I wanted to capture the swiftly moving clouds over the Cuillins on the Isle of Skye before they drifted out of the scene. They will allow you to keep shooting when the waves rush in around you. I used the diagonal line of the flowing river to reinforce the angular composition.

Gear up wellies When shooting along rivers and coastlines. In the last time segment. Before we look at how we create this effect. I have found the best shutter speed is around 1 sec.

Camera shops will want to sell you the most expensive. Rushing waves still retain their texture. I feel if there is a large piece of rock in the foreground. A second is long enough for the highlights in the waves to smooth out and reveal the rocks under the approaching water. Pro Tip Use a polarising filter to remove reflections from the surface of the water and increase the colour saturation.

Gear up cable release A cable release is essential when carrying out long-exposure techniques. When it comes to downloading a cable release. It will also increase the exposure time. The money you save can be put towards a polarising filter below. I recommend you keep it simple. Small variances in time with this technique will produce a completely different effect. I prefer ones with lots of ledges for the water to cascade over.

I always use a polarising filter to cut the reflections from the foliage and the highlights on the water. This is good. Overcast conditions are the best for shooting forest waterfalls.

Not really.

Compare it with the inset image of the falls. I use my Lee Little or Big Stopper with a landscape polariser to obtain a longer exposure see page Many waterfalls are situated in the depths of forests. A short exposure will render the water looking frozen.

This is especially true if your camera angle is straight on to the falls. When there is the possibility of getting some interesting movement in clouds. My Lee landscape polariser is ultra-thin. This image of Thurne Mill reflected in the river needed an exposure of five seconds to smooth the surface of the water.

This blocks out six stops of light. If there is a lot of water spilling over the falls. The aperture you use will have a bearing on the shutter speed. If there is a slight breeze ruining a reflection when shooting rivers or lakes. If you are shooting at sunrise or sunset. Focus manually and set it to infinity.

There is a particular procedure for capturing auroras. This time segment is probably my favourite as the images created at these shutter speeds are the stuff that Doctor Who is made of.

These give a short enough exposure time to capture the aurora. The normal exposure times are around 15 secs to 30 secs. The Kp-index is a global geometric storm index with a scale of 0 to 9. The hash mark should be set to the middle of the infinity mark on the lens. The higher the number. I shot this image from a beach. The shapes of the auroras change quickly. I always make an exposure then check the focus at per cent on the LCD.

When deciding where to photograph your aurora. Capturing the psychedelic skies of an aurora borealis is something that every photographer should experience.

Checking the aurora forecast tells me if there is a chance of a decent show. Use a wide-angle lens with the aperture set to its widest aperture. No moon will allow the aurora to show up better.

For example. To calculate the exposure. I lit the church with a torch. The first is to use a second exposure. Gear up headlamp A headlamp — a small torch that straps to your forehead — will free your hands to work with the camera.

Wear several layers of clothes. If you are lucky the lightning will strike during that period. Capturing lightning bolts with your camera can be very rewarding and impressive. I try to include something interesting in the foreground rather than shoot the sky alone.

If you are shooting from a car. I wear a thin pair of gloves inside a thicker pair so I can still adjust my camera settings with the thin pair. After the first strike. There are also many phone apps that let you control the camera for remote shooting. I used the rule I mentioned earlier see Curtains of Light. When once I would have packed up after sunset. The minute you hear thunder. Using an ISO of The last thing you want to do is stand in an open field with your camera mounted on a tripod — the tallest object for lightning to strike.

Open the shutter the second you see the lightning. This is when the stars and the Milky Way will appear the brightest.

18 Photography Magazines You Should Read in 2019

I used my widest lens. One with a red light will save your night vision and keep you from blinding other photographers you might be shooting with too. This is better. The first thing to do to create your star-filled sky is to get as far away from city light pollution as possible. The third method is more a of sure thing: During the first 10 seconds.

I often use my D at ISO with good results. Choose a scene that looks good without lightning so it will look even better with the strikes. When it comes to deciding where to shoot. Each second equals about a mile. Even www. There are three methods for capturing lightning bolts.

In the past few years. There was an opening in the clouds. Look for an interesting foreground of rocks.

Photographing milkywater seascapes is relatively easy. Select an exposure time that will allow the waves to make a few passes over the rocks. A threestop ND grad filter over the sky helped to balance the sky with the foreground.

Nikon The Complete Manual – Ninth Edition 2019

You need to consider things carefully before making any exposures. To obtain an exposure of almost one and a half minutes. I was pleasantly surprised how the clouds were moving towards the island and drew the eye to the lighthouse. To determine the position of the rising sun.

I had to calculate the total amount of time of all of the exposures to coincide with the sun breaking over the edge of the island. I composed it so the coastline led in from the corner. After stitching all of my images together. I wanted to create a long exposure at dawn with the sun just breaking over the island.

I love it when a plan comes together! Once again. At times. If it does. Coastlines provide a wealth of subject matter. I could have cropped a single file into a panorama. This is a compass and chart that tells you where the sun will rise and set at any location.

In windy conditions. Pro Tip When shooting long exposures with ND filters during bright conditions. Even if you are photographing a busy street scene www. The legs will extend to two metres so I can manoeuvre it into the most difficult positions and achieve higher viewpoints than is possible most tripods. I used my Lee Big Stopper here. I allowed enough time for the sun to rise above the horizon and break the edge of the island. All this and it weighs only 3.

When you have clouds moving in the right direction. The reflection of the mountain in the water was very good — that was. I had no idea how the clouds would react over such a long exposure. Photographing landscapes over several minutes can transform an ordinary scene into one that conveys everything from action through streaking clouds.

In this picture. I used a soft-edge two-stop ND grad over the sky.

The polariser darkened the blue sky. The soft-edge ND grad is ideal with uneven horizons such as massive pointy mountains. Made of reinforced aluminium. Gift is subject to availability. Please allow up to 60 days for the delivery of your gift. Prices correct at point of print and subject to change. Easyto-use clip locks mean you can get set up fast. Turn to page 38 www. In the event of stocks becoming exhausted. Have the latest issue delivered to your door. For full terms and conditions please visit: You will receive 13 issues in a year.

If you are dissatisfied in any way you can write to us or call us to cancel your subscription at any time and we will refund you for all unmailed issues. It reaches a height of cm and can support up to 3kg. This offer is for new subscribers only. Paul Grogan. Editor In the UK? Cl ic k on th is we b link bit. Manual mode makes things much easier here too. This enables you to augment the natural light and take a Next issue… Using Manual mode enables you to under-expose the sky to make it moody Get more creative with your photos by shooting into the sun shot that will rival the finest WorldCup-winning drop-goal.

Using Manual mode enables you to under-expose the sky to make it dark and moody. Settle on a composition and camera angle. When using more than one flash. But there is a solution: Instead you want full control over the exposure. We positioned the second flash in front of him to illuminate his face and body.

We placed one of our flashes behind our subject. Around two stops of underexposure will do — in our case. October 02 Dial it down The trick to creating moody. As for the flashes. By cross-lighting our rugby player here with two flashes.

To watch the video use this web link… bit. Shooting up at your subject from low down will not only let you frame them against the sky. Set the second flash up on a stand and again use Manual power so you have full control over the output. Attach a wireless trigger see Essential Skill. With your backlighting set up. Once the flashes are set up. On our Nikon SB As before.

Direct the light from above so that the shadow cast by the nose is angled down towards the corner of the mouth like this. Set it to Optical Slave mode so that it detects the other flash and fires at the same time. Set up your first flash on a stand behind the subject. Most flashes come with a plastic base that enables you to connect it to a stand or tripod. Here our Nikon SB was at half-power. The flash should create a highlight along the edge of your subject.

Take a few test shots and adjust the power until the backlighting looks right.

Get tin g down le vel with the scu lp ture will ma ke the viewer feel p art of the sc en e Step by step Bring your food to life Turn everyday vegetables into all sorts of bizarre sculptures 01 Slice and dice Dissect your food to fit your scene.

We used a lamp with barn doors to direct the light. You can set everything up in the comfort of your own kitchen. Project two Special effects Capture a sea monster Animal. Try dif feren t an gl es. This project is perfect for a rainy day. Adjust in small steps to avoid wasteful errors. On the other hand. Coloured materials can enhance the scene — we used a blue base for our aquatic creature. We turned our courgette into a green sea monster. For an effective image. Use a simple background. This panel enables you to quickly tweak common image-related issues.

Adobe invented the. You can also make selective adjustments to your RAW files. They change a multitude of settings in Develop module panels to produce a range of photo-fixing edits.

You can crop images.

Digital Camera World June 2019

It will then close all the other panels that are open. Solo mode enables you to click on a panel to open it. Here you can see some strong shadows on the left. Right-click on a panel to summon this pop-up menu. To selectively claw back detail in the highlights. Hide unwanted panels by unticking their labels. Click on a size at the top to zoom in by a specific magnification.

There are multiple ways of triggering flashguns. Flash also makes faster shutter speeds possible. In areas shrouded by trees. A flashgun can fire from any direction to lift unwanted shadows October When photographing mountain bikers in action. Most will have a Slave mode.

Fast-paced sports such as mountain biking can be difficult to shoot without using flash to freeze motion. Flashguns are an invaluable bit of kit. A more reliable method is to use remote triggers. In areas surrounded by trees. A flashgun. Focus on them and lock your lens into manual focus to avoid the AF searching as they ride past. Corners are good locations to shoot from as the rider will be in more interesting positions.

Expose for the sky. Looking up from ground level will create a more dramatic composition. We chose the left of the frame. When shooting steep areas. Flash for action Change the mood STEP BY STEP Freeze movement with flash Light up subjects with a Speedlight to capture fast-moving action 01 Pick your spot 02 Position the flash 03 Take remote control 04 Expose for the background Look for an interesting feature in the terrain and think about how your subject will move through that area.

Rocks work well in photos as they catch the light. If you have remote triggers. This will give a high-contrast effect. With faster-paced shooting. A narrower aperture and lower ISO will darken the scene. Set some positive exposure compensation to brighten the model.

Allow it to fade as it reaches your subject so you have a clear view of them. For this technique to work. It can be distracting. The flare will wash over your model. If you expose for the sunlight. Just be sure to keep your model between yourself and the sun. By moving slightly. Be aware of the background. Just take care when taking any dust off. We laid down in some tall grass to place the sun behind the model.

Position your model between the camera and the sun. Specks of dust on your lens or filter will light up and create interesting textures. To see when and where the sun will set in your location. It can and should overlap your subject. Older lenses often flare more. The number of optical elements pieces of glass in the lens also affects the flare intensity.

Nikon skills Ingenious recipes for stunning shots Project six creative photoshop Word up! Grab the Move tool and click on the word. Step by step Master of Paris Learn how to create. This could be useful for all kinds of designs. From here you can go on to add materials to texturise and colour the surface of the letters.

Grab the Type tool from the Tools Panel. With so many settings on offer. Y or Z axis. If you want 3D objects to sit behind elements in your own images. With careful positioning.

Use the axis widget to rotate the word along the Y axis — each part of the widget moves. Creating a three-dimensional word is just the beginning. To download the start image for this tutorial. Click on the light icon at the bottom. Quick TIP! You can change the word to someth ing else even after turning i t in to a 3D shape: Click on the Render icon. Click on Diffuse.

Related titles

Each element in the panel can be adjusted by highlighting it then changing the settings in the Properties panel. Repeat for the Paris Extrusion Material. As well as the object itself. Pick Metal Steel.

In the Properties panel. Drag the 3D layer below the cutout layer. Click on Front Inflation Material. Click Current View in the 3D panel. Use the Move tool and axis widget to rotate and position the word along the edge of the tower. Within the panel sit all the 3D objects usually named after the layers they are on and within each object are the materials that make up each surface.

Nikon skills 56 Ingenious recipes for creative shots October www. We visited the Bristol Balloon Fiesta to get our images. Shooting helicopters and planes can be exhilarating. Read on for more on settings. Investigate the area around the take-off site.

Sometimes pilots can aim for certain directions using the burners in combination with thermals. At the Bristol Balloon Fiesta over hot air balloons take to the skies during the mass ascent. You might be able to squeeze a small camera bag into the basket. The wind will also affect the direction in which the balloons fly.

On a fine day. The appearance of the balloon changes rapidly during inflation. The air gets colder as you ascend and wind speed can pick up the higher you go. Depending on your luck and location it may be possible to capture valley fog. Most flights are in the early mornings… Depending on your luck and location it may be possible to photograph valley fog. Check the weather before you go — often.

Most flights are in the early mornings and late evenings. Try standing behind the inflater and at the other end of the balloon. Move quickly and keep shooting — you will probably only have two opportunities to get these images. Local ballooning clubs run ascen ts throughou t the summer — typic ally in the evenings. Get a variety of landscape and portrait-oriented photos in this situation. Even if you have steady hands it will help to beat blur.

Wide and long Changing lenses mid-flight means you can lose out on shots or even drop a precious lens out of the basket! Depending on how bright it is. Be safe at all times. Creative aperture Use aperture creatively — to blur the background. October 02 Inflating Get inside the balloon or shoot through the fabric symmetry can be suitable here.

What others can you think of? On clear nights you may be able to capture the stars above the balloons. Great balloon shots Make skies bluer with a polarising filter 04 Going up lay of the land 03 Inflated Capture the fire roaring up into the balloon.

Use full manual mode here. As the night draws in. Most people never see balloons from this angle.

Work with the sun as you rotate into the sky. And remember. Try to strike a balance between the fire-filled balloons and the night sky. Try zooming in on a tight cluster. If you can combine the clouds with landmarks in the background or even a factory producing a billow of steam. During this time west-central Florida we want your photo stories!

ISO Come on in! More food for thought this issue. As Nikon has upgraded its camera range. I sold the D70 to upgrade to the D All your favourite features but with added exclusive content. Available to download from the App Store now. This special tablet edition is themed around Wildlife and is free of charge from the App Store. Designed to give newcomers a taste of what the full Nikon Pro magazine has to offer, the WILD version celebrates awe-inspiring photography and the stories behind the image, just as the regular Nikon Pro does.

Please note that if you are not resident within Europe we can only accept payment by credit or debit card. You will receive a confirmation email when payment has been processed. Your subscription will then begin with the next available issue of the magazine. Login Register. Best cameras and lenses All forums Pro Digital Talk Change forum.

Started Mar 7, Discussions thread. Mar 7, Curtin — Textbook of Digital Photography the first pages, quite theoretical, but still valuable information, especially for beginners: Much too heavy and expensive equipment and too little time to go out and take photos. Alter Ego MOD elfroggio. Forum Parent First Previous Next. Color scheme? Latest sample galleries. Panasonic Lumix G95 pre-production sample gallery. Pentax mm F2. Latest in-depth reviews. The new benchmark for smartphone zoom.

Latest downloading guides. The best camera bargains of The best lenses for Sony mirrorless cameras. Sony a review in progress. Lomography Diana Instant Square review.Ross competitions! They will allow you to keep shooting when the waves rush in around you. A photographer friend inspired her to take it up again.

When it comes to downloading a cable release. Click on OK to apply the trim. ISO 02 Nikon D I was attracted to different light conditions and feel that being able to understand light is key to improving my images. I had to get the camera on a tripod in the dark without moving anything. To reflect the fact that some photographers enjoy shooting and sharing video.

I was pleasantly surprised how the clouds were moving towards the island and drew the eye to the lighthouse.

MINDY from Seattle
I do relish reading comics inquisitively . Review my other posts. I take pleasure in ice sledge hockey.