Complete Guide to the Nikon D200- P12 pot

V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 331 Normal—a moderate amount of unsharp masking is applied to the image. Again, the D200 documentation makes no claims to the amount, though the D1 documentation claims that this is about equivalent to the 80% Amount setting in Photoshop. Under extreme magnification, the camera’s rendition is cruder and more readily detected than Photoshop’s, though (probably due to the radius chosen). Medium High—a little more sharpening than Normal. High—a large amount of unsharp masking is applied to the image. On the D1, Nikon claimed this is about equivalent to the 120% Amount setting in Photoshop. Auto—the camera decides what level of sharpening to use. The manual says that this is based upon the “subject” and “vary shot to shot,” which isn’t very helpful in understanding what the camera might be doing. Note: While I’ve given the relative Photoshop amounts Nikon claimed for the D1, it appears that the D200 uses less intensive settings, probably to keep noise from becoming an issue. Note: If you’re shooting JPEG images, the above parameters are used to apply sharpening to the actual pixel data that is saved in your image file. If you shoot NEF, the “tag” for the sharpening value is stored in the EXIF data and the data is left untouched. However, note that programs such as Nikon Capture often use the camera tags as the default setting for conversion, so unless you override the sharpening value in your NEF conversion program, sharpening may be applied by the program! That’s one reason why I sometimes suggest setting sharpening to None if you shoot NEF images. Sharpening is usually applied twice to images (only one of these potentially occurs in camera). The first sharpening is used to compensate for the anti-aliasing (fuzziness) that is inherent in digital image acquisition due to high frequency sampling. I’d argue that this sharpening should be minimized as much as possible. V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 332 A final sharpening should only be applied to an image when you know the reproduction size. For example, I often use a Radius value of 0.3 to 0.5 when sharpening small images destined for the Web or computer view. When printing on an Epson inkjet printer, such as the 1800 or 2400, I sometimes use Radius values as high as 0.8 to 1.2, since I know that the ink tends to spread upon contact with the paper I use, masking the sharpening effect somewhat. (The dot gain on most consumer Epson printers with regular ink and papers is about 30%.) Another photographer I know applies Photoshop Unsharp Mask values of 4, 50, 4 for the D200 (Radius, Amount, Threshold). What you use depends on your output device and the way you balance visual impact with artifacts. Many photographers also believe that it’s incorrect to apply sharpening to color image data (amongst other problems, the colors can shift due to the methods used to lighten or darken edges). These folk tend to advocate switching the image mode to Color Lab (Adjust/Mode/Color Lab in Photoshop), applying sharpening only to the luminosity layer, then switching back to RGB or CYMK mode (Adjust/Mode/RGB or Adjust/Mode/CYMK). This method also tends to color shift images, though not by as much as the regular method, as Photoshop rounds pixel values during mode conversions. I’ve seen some colors drift by 2 or 3 values (out of 256) making this conversion. (For a fuller discussion of sharpening, see Hhttp://www.bythom.com/sharpening.htm.) Tip: In most recent versions of Photoshop, you can run your Unsharp Mask filter as usual, then select Fade Unsharp Mask from the Edit menu (select Luminosity in the Mode pop-up) to achieve the same effect as the Color Lab luminosity trick. This avoids the color shift. It makes sense to use in-camera sharpening when you’re working under tight deadlines and know how the image is likely to be rendered. For example, photographers shooting on deadline for Web sites or newspapers often fall into this category, and should probably select Normal or Medium High sharpening, depending upon whether the scene is V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 333 normal contrast or low contrast, respectively). But be careful if you venture above ISO 400, as sharpening interacts with noise and can create unusable images. Note also that high levels of sharpening also tend to increase the size of JPEG files, as sharpening increases detail that’s difficult to compress. My recommendation for most users who aren’t shooting on deadline is that you turn Sharpening to Low or Medium Low when shooting with a D200 in the JPEG file format. This gives you modestly sharp images for direct view that can be re- sharpened as necessary for other output formats. Tip: On the other hand, setting sharpening to a high value allows you to use the camera’s zoom review function to assess focus, and the high sharpening values aren’t bad on the D200 at the low ISO values. I’ll often use a value of High when I’m trying to assess focus in the field. NEF files don’t get sharpened by the camera, but you should still set the camera to a value of None so that your conversion program doesn’t pick up a sharpening value by default. Not only does Photoshop (and other image editing programs) do a better job sharpening images than the D200 does, but you can choose your sharpening methodology based upon how the image is used. Note: If you’ve set a sharpening level on the D200, it is applied by default to NEF format files in Capture if you’ve left it at the default settings This is yet another reason to turn sharpening OFF on the camera (that way the camera’s settings match what you get). V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 334 Sharpening set to Low. Note the slight fuzziness (antialiasing) in the resolution patch and lettering, and what looks like a bit of low contrast in the edges on Mickey’s face. Sharpening set to High. Almost like an eye exam, isn’t it? Is the lettering better, or worse? How about Mickey, does he look sharper or fuzzier? Do note, however, that contrast has gained a bit (look at the blacks; they’re darker while the whites are a bit brighter). To set sharpening: 1. Press the MENU key to show the menu system. V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 335 2. Use the Direction pad to navigate to the SHOOTING MENU (the camera icon tab). 3. Use the Direction pad to navigate to the Optimize Image option and press the > key on the Direction pad to select it. 4. Use the Direction pad to navigate to the Custom option and press the > key on the Direction pad to select it. 5. Use the Direction pad to navigate to the Image Sharpening option and press the > key on the Direction pad to select it. V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 336 6. Use the Direction pad to navigate to your choice and press the > key on the Direction pad to select it. V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 337 Shooting Controls Many of the shooting controls of the D200 have already been covered in earlier sections, but a few important ones remain to be described. Shutter Releases The D200 sports the usual shutter release at the right-front top of the camera. If you’re using an MB-D200 mounted to your camera, there is a second release for when you hold the camera for vertical shots. Both releases have Front and Rear Command dials (unlike previous Nikon bodies, where no vertical release has had both). An AF-ON button also is present near the vertical release on the MB-D200, but no AE-L/AF-L button is present. Note that the vertical release has a lock ring around it. When the dot on the ring is aligned with the white line on the body, the vertical release is active; otherwise it is inactive. Get used to flipping that Vertical Release Lock switch; if left unlocked, you’re pretty much guaranteed of getting random pictures you didn’t want as your hand and other things brush by the vertical release. Personally, I rarely use the MB-D200 and its vertical release. I, like many professionals, use quick release mounts on my cameras (most of the time the camera is used on a tripod). I have an L-bracket mounted on my cameras most of the time. So when I grasp the camera to shoot vertically as Nikon intends me to, my palm then rests uncomfortably on the mount. It also doesn’t help that it takes relatively large hands to also feel comfortable with the location of the Direction pad when shooting verticals. Long ago I learned how to shoot vertical with only one release, so that’s all I tend to use. Use the MB-D200 and its vertical release should you desire, but don’t set the AE-L/AF-L button options if you do, otherwise you’ll be frustrated by not being able to reach the AE-L/AF-L button (yes, you can transfer the function to the AF-ON button, but then you lose that button’s function). V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 338 The shutter releases control the activation of the camera’s metering system and (usually) the start of autofocus (basically, all systems that need to be “active” during shooting). A partial press of the shutter release turns metering ON and activates the autofocus system. Unlike consumer cameras, holding a shutter release partway doesn’t lock exposure (unless you’ve set Custom Setting #C1). As long as you hold the shutter release partway down, the camera stays active (and uses considerably more power, see “Battery Life” on page < H102>). If you let go of the shutter release after pushing it partway, the camera stays active based upon how Custom Setting #C3 is set (see “Meter/Camera Active Time” on page < H446>). By default, this is six seconds. Shutter Lag One thing that catches D200 users unawares is the potential for “lag” in the time between pressing the shutter release and the picture being taken. Since many users purchase the D200 for its speed, this can be a frustrating aspect of the camera, at least until you understand that the settings you choose contribute to the problem. In manual focus and manual exposure mode with no images in the internal memory buffer, the shutter lag on a D200 is actually a bit longer than that of the D2 series (55ms on the D200 compared to the D2 series’ 40 ms). That’s still better than other Nikon bodies, and pretty much matches what the F5’s shutter lag was. In short, the D200 has very little shutter lag. However, as you turn on automated features or put images into the buffer, the lag may actually become significant and difficult to predict. Here’s a partial list of things that contribute to shutter lag: • The camera needs to clear the buffer. In the Continuous shooting method (see “Frame Advance” on page < H340>), when the internal memory buffer fills, the D200 must V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 339 write that information to the CompactFlash card. As enough internal memory becomes available for another image, the D200 again releases the shutter. Fortunately, the D200’s buffer is rather large and its write speed to storage is fast, so it’s rare that you’ll encounter buffer delays, but it is possible, especially if you shoot NEF format in rapid bursts. • Autofocus is set to Single Servo. In low contrast scenes and sometimes with moving objects, the autofocus mechanism may take longer than usual to lock into the focus point. If you’ve set Single Servo AF, the camera won’t release the shutter until autofocus is achieved (you can override that with Custom Setting #A2). With telephoto lenses that do not have a built-in motor (i.e. are not AF-I or AF-S), the number of turns the autofocus motor has to make to drive a lens from one extreme focus position to another can also be a factor (generally you don’t see this with wide angle lenses). • The shutter speed is long. In continuous motor drive, it is possible for long shutter speeds to reduce the camera’s frame rate. While this doesn’t contribute lag to the initial frame in a burst, you may feel like subsequent frames have a built-in lag. Consider, for example, that you have the camera set to shoot continuously and are using a shutter speed of ½ second. Obviously, the absolute best you’re going to get is something less than 2 frames per second, not the 5 frames per second maximum the D200 is capable of. • You’ve told the camera to pause! The value set in Custom Settings #A1, #A2, and #A5 can cause the camera to alter whether the camera is set to release priority and no tracking, or has some sort of focus priority and tracking it needs to do before the shot. • The self timer is set. See “Self Timer” on page < H343>. This one is my favorites at workshops: the student comes to me and says their camera isn’t working. About that point the shutter goes off and the student remembers that they set the self timer. V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 340 • i-TTL flash is active. Since the preflash is measured by the 1005-element CCD in the viewfinder, the mirror has to be down while preflash signals and responses are made. With a single flash this usually isn’t an issue, as the D200 flips its mirror up very quickly. However, when you use multiple wireless i-TTL flashes, the preflash sequence lengthens, and this can cause a perceivable delay in shutter response. Frame Advance One of the D200’s key attributes is its ability to take multiple photos in rapid succession. Most digital cameras are quite limited in this respect, but the D200 operates much like a D2 series body or an F6, with only a few minor differences and a slight performance drop. Three frame advance (shooting method) settings are possible (the Shooting Method dial also controls the self timer and Mirror-Up capabilities): S Single-frame. Each time the shutter release is pressed, a single image is recorded (i.e. holding the shutter release down past the shot doesn’t take additional pictures). You can take additional pictures (until the buffer fills) without having to wait for the camera to write to the CompactFlash card—you just have to press the shutter release for each one. CL Continuous Low. Images are recorded at 3 frames per second (fps) while you hold the shutter release down (unless you use Custom Setting #D4 to set another value from 1 to 5 fps). If the buffer fills and you continue to hold the shutter release down, the D200 shoots another picture each time one image has been completely saved to CompactFlash. CH Continuous High. Images are recorded at 5 fps while you hold the shutter release down. If the buffer fills and you continue to hold the shutter release down, the D200 shoots another picture each time one image has been completely saved to CompactFlash. [...]... " keys to set the value c Press the > key to move to the next entry 9 You’re almost done Press the " key to move the selection to On and press the ENTER button to complete the process You should see the message Timer Active Press the MENU button or press the Shutter release partially to get rid of the message But here’s another potentially confusing point: you must press the ENTER button when the highlight... automatically: a Use the Direction pad to navigate to Auto Gain and press the > key on the Direction pad Thom Hogan’s Complete Guide to the Nikon D200 Page 356 V1.03 to select it b Navigate to On and press the > key on the Direction pad to select it 7 Navigate to Done and press the > key on the Direction pad to select it The camera is now set to take a sequence of photos and combine them into one But there are... navigate to it and press the > key on the Direction pad; otherwise, skip to Step 4b i Enter the hour at which you want the pictures to begin by using the % and " keys Press the > key to move to the minutes ii Enter the minutes at which you want the pictures to begin by using the % and " keys Press the > key to move to the interval selection process (and skip to Step 5) b If you want to choose to start... Hogan’s Complete Guide to the Nikon D200 Page 355 V1.03 select it 4 Use the Direction pad to navigate to Number of Shots and press the > key on the Direction pad to select it 5 Use the % and " keys on the Direction pad to select the number of shots (2 to 10) and press the > key on the Direction pad to enter that selection 6 If you want the camera to adjust exposure for the multiple images automatically:... photos after completing the interval setup process, navigate to Now and press the > key to move to the interval selection process Thom Hogan’s Complete Guide to the Nikon D200 Page 346 V1.03 5 Use the % and " key to set the hours between shots Press the > key when you’ve done so 6 Use the % and " key to set the minutes between shots Press the > key when you’ve done so 7 Use the % and " key to set the. .. navigate to the SHOOTING MENU (camera icon tab) and press the > key on the Direction pad to enter the menu Thom Hogan’s Complete Guide to the Nikon D200 Page 351 V1.03 4 Use the Direction pad to navigate to Image Overlay and press the > key on the Direction pad to select it 5 You’ll see an overlay preview screen The first image area (Image 1) should be highlighted: a Press the ENTER button to show the NEF... between the two images to adjust the gain for the two images At any time you can press the Thumbnail button to get a full screen version of the currently selected image Thom Hogan’s Complete Guide to the Nikon D200 Page 353 V1.03 7 When you’re satisfied with the images selected and the gains assigned them, use the > key on the Direction pad to navigate to the Preview image (righthand image): a Navigate to. .. persistent) b Navigate to the SHOOTING MENU c Navigate to Intvl Timer Shooting and press the > key to enter the submenu d Use the > key repeatedly to navigate to the final menu item, which should now say Start Stop, and Done Use the " key to select Done and press the ENTER button Again, you must have the item highlighted when you press the ENTER button (Stop means interrupt the process but remember... highlight is at Thom Hogan’s Complete Guide to the Nikon D200 Page 348 V1.03 the On selection If you move to Off and press the ENTER button, the camera will cancel the intervalometer 10 Okay, you’re not done What happens if you want to terminate the intervals early? Well: a Press the MENU button to get to the menus (if an interval picture is about to be taken, sometimes the camera will fight you on... image e Press the > key on the Direction pad to select the second image area (Image 2) f Once again press the ENTER button to show the NEF images on your card g Navigate to the image you want to use as your second image (Image 2) h Press the ENTER button to use that image as Image 2 i Use the " and % keys on the Direction pad to adjust the “gain” for Image 2 6 You may use the Direction pad to navigate . AE-L/AF-L button (yes, you can transfer the function to the AF-ON button, but then you lose that button’s function). V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 338 The shutter. use the % and " keys to set the value. c. Press the > key to move to the next entry. 9. You’re almost done. Press the " key to move the selection to On and press the ENTER button. must press the ENTER button when the highlight is at V1.03 Thom Hogan’s Complete Guide to the Nikon D200 Page 349 the On selection. If you move to Off and press the ENTER button, the camera