Advanced Multi-CAM 3500FX autofocus sensor module
Accurate AF detection is crucial for extremely high-resolution still images in every situation. The 51 sensor points in the Nikon D800’s AF sensor module work down to -2 EV (ISO 100, 20°C/68°F), the approximate physical limit of human visibility through an optical viewfinder. For even more powerful detection, you can rely on the camera’s 15 cross type sensors in the centre to detect both vertical and horizontal lines when using any AF NIKKOR lenses of f/5.6 or faster. What’s more, AF can be activated with eleven focus points in the centre with open aperture of f/8, which is a big plus when you combine a telephoto lens with a 2.0x teleconverter to shoot distant subjects.
Versatile AF-area modes
Whether it’s a still life, a portrait, a landscape or a candid street scene, your subject matter varies, but its importance doesn’t. That’s why the Nikon D800 offers four AF-area modes, each specifically tailored to adapt to various subjects. Single-point AF is ideal when you need pinpoint focus on stationary subjects. Dynamic-area AF has three options (9-point, 21-point and 51-point) and is ideal for shooting moving subjects. The selected AF point and the surrounding points keep your subject in sharp focus even if it briefly leaves the selected points. 3D-tracking allows you to maintain focus on subjects that are moving erratically from side to side. Auto-area AF detects human faces and prioritises their sharpness for you — an ideal choice for candid photography.
Advanced Scene Recognition System with 91K-pixel RGB sensor
Nikon’s revolutionary Advanced Scene Recognition System, introduced with the flagship Nikon D4 camera, is also employed in the Nikon D800. At its core is a 91K-pixel RGB sensor that meticulously analyses each scene with fine resolution. The RGB sensor can recognize your scene’s colours and brightness with unprecedented precision then use that information to implement various automatic controls and give you more natural-looking results.
The real breakthrough, however, is that the sensor can detect human faces with startling accuracy when shooting through the optical viewfinder. Along with face detection, detailed scene analysis is utilised to support more accurate auto-focus; auto exposure and i-TTL flash exposure results in a diverse range of compositional and lighting situations. The improved subject tracking is most noticeable when using 3D-tracking, which can maintain a focus on moving subjects smaller in size than with previous generations.
A demonstration of the "Left Autofocus" issue, which afflicts an unknown
percentage of D800/D800E bodies. In this issue, a photo focused with
the leftmost autofocus point is out-of-focus, whereas photos taken with
the center or rightmost autofocus points are in-focus.
The problem
occurs most often with wide-angle, wide-aperture lenses, such as the
24mm f/1/4, the 14-24mm f/2.8, and the 28mm f/1.8. For my demonstration I
used the 24mm f/1.4, which seems to be most affected out of the three
lenses. I describe the process/methodology I used to test for the issue
and then demonstrate the issue in practice with a live autofocus
session. You can read more about this on my blog at: http://testcams.com/blog/2012/06/20/nikon-d800-left-autofocus-point-issue
Solving AF Problems - 8 Common Autofocus Problems - And Their Solutions
I was so busy zooming in on the right and left focus points, I passed
right by the center focus point photos. I mean, who would have thought
that in order to “fix” my D800 left side autofocus issues, Nikon’s
technicians would simply ruin the focus of the camera’s best sensor
point – the center? No one would do that…would they?
That’s when
reality hit. The left and right focus points looked good, but the center
– terribly out of focus. Not one of the 15 pictures taken with
autofocus using the center point was remotely close to the sharpness of
the Live View shots, which were all perfect. I went back and attempted
to dial in some autofocus fine tuning adjustments based on taking a few
shots of my LensAlign system, but had to use numbers ranging from +15 to
+20 to get the center focus point in sharp focus. And even then some
lenses were still showing some bias toward front focusing that I could
not compensate for. Naturally when I then shot my test target again
with the left autofocus point, the image was blurrier than a Joan Rivers
glamor photo! Sigh…
Official Nikon Hacks, D7000, D7100, D3100, D3200, D5100, V1, V2, J1, D4, D800 and Nikon Tool
... when taking a picture in LV the sequence is:
0. (mirror is already up, the aperture is already stopped down.)
1. shutter closes (second curtain travels down)
aperture opens all the way (like you have taken a shot and you
need to look in the OVF between shots) - now the shutter is re-cocked
aperture closes back down. (now it will close at the value set previously when in LV)
shutter opens and closes.
aperture opens all the way back up (again)
aperture closes back down.
shutter opens, live view resumes.
the only Nikons that can vary the aperture in live view are the Nikon
D3 family; the brand new D4 and D800. These more expensive cameras have
a separate electromagnetic actuator for the mechanical lever.
on the D7000 this is not a software lock, it is a mechanical limitation...
...only d3´s , d4´s and the d800 got gifted by nikon with a relatively
expensive electromagnetic high speed precision actuator and a redesigned
mirrorbox which r&d costs are partly reflecting in the prices of
these units...
PROBLÉMY S OSTŘENÍM ANEB FRONT A BACK FOCUS
...řejmě mi také dáte za pravdu (už naposledy), že snad mimo statických předmětů (krajina, studiové foto) je správné zaostření opravdu problém...
jde o tom kam máš nastaven AF, tím myslím ovládání. Pokud jedeš přes tlačítko na AF-L (tedy na palec), pak je blokace AF vlastně jasná. Při nastavení AF-C a namáčknutí AF-L tělo neustále a průběžně přeostřuje. V okamžiku, kdy AF-L povolím, tak AF nepracuje a zaostření je v podstatě zablokované. Díky přehození tlačítka AF na zadní stěnu nedojde k přeostření při namáčknutí spouště a také díky nastavení AF-C lze exponovat kdykoli, tedy i v okamžiku, kdy není zaostřeno. Za "normálního" nastavení AF na spoušť lze na tlačítku AF-L mít právě nastavenou blokaci AF.
vezmu to na prikladu svych fotaku s 51 AF body.
- Vyber zaostrovacich bodu AF point selection - tedy bodu na ktere muzu zobrazit v hledacku a "najet" na ne volba je 11 nebo 51. 11 bodu pouzivam na vetsinu reportazi kde nani dost casu. 51 pouzivam treba u foceni kde vice casu mam, treba portrety na svatbe (i reportazni) kde musu presne komponovat a pote si bybrat bod na oko portretovane osoby.
Pri AF-C rezimu mam pak vyber z 1/9/21/51 bodu to jsou body ktere se podili na zaostrovani. A tady je potreba pochopit jak funguje AF.. ten totiz detekuje kontrasty ve scene a pritom priorizuje jasne a blize umistene predmety.
Pokud tedy zvolim 1 bod je to jednoduche, fotak hleda kontrast v miste bodu a na nej se snazi zaostrit, problem muze byt v tom, ze celou plochu bodu pokryva nekontrastni scena. Staci napriklad bile tricko, jednobarevna kapota auta nez nejakych prolisu atd.. Proto existuje moznost vyberu dalsich "pomocnych" AF bodu kdy je pro zaostreni zohlednovana oblast pokryta prave temito body a fotak pak vyhledava kontrasty i v dalsi casti sceny atim, ze priorota AF lezi prave ve vebranem bodu.
Jak si vybira fotak mista kam zaostrit sam, si muzeme snadno vyzkouset v rezimu AF-S s natavenym automatickym vyberem ostrocich bodu.. pr tomto rezimu se po namacknuti zobrazi bodu kam je zaostreno.. Budou to body odpovidajicim kontratum ve scene..
Ja to ted zkousel s nikonem V2 mam otevrenou cernou stranku nikon clubu na monitoru s bilym okrajem, pokud na monitor zaostrim tak V2 vybere obdelnicek bodu umistenych na prechodu cerne obrazovky a ramecku monitoru
Co se moji praxe tyce, tak na 1 bod nefotim temer vubec, nejcasteji na 9 nebo 21 bodu to zalezi na situaci ale i na nasazenem objektivu.. sirokac ma jinou perspektivu nez tele a tak se i pri foceni podobych motivu meni scena a tedy i oblast kterou chci pokryt AF body .. na 51 bodu nefotim vubec
Samozrejmen to funguje i tak, ze pokud stredovy bod na neco zaostri s to se pohybyje v ramci oblasti vybrabych AF bodu, je na toto stale zaostrovano
Focus Problems with my camera
I would look at these pictures in View NX 2 and turn on the AF point to show you where it landed when you were taking the picture. If it lands on a sharp spot, maybe you're using the wrong AF settings. If the AF point consistently lands on out-of-focus areas, I would begin to wonder.
Nikon MF Lenses
Nikon has been able to quickly reboot its manufacturing schedule of a series of classic manual-focus Nikkors including the Nikkor 20mm f/2.8 AI-S, Nikkor 24mm f/2.8 AI-S, Nikkor 28mm f/2.8 AI-S, Nikkor 35mm f/1.4 AI-S, Nikkor 50mm f/1.4 AI-S and Nikkor 50mm f/1.2 AI-S. All of these lenses are currently in production and in stock, with the exception of the Nikkor 35mm f/1.4, which is expected to be back in circulation in October.
HASSELBLAD 40231 Proshade / Professional Lens Shade
The LEE Filters range of lens hoods can be used alone or in conjunction with filters, allowing the photographer to shade the lens and enhance their photographic composition at the same time.
645 D Moveable Adapter Plate for 4 x 5 Large Format Camera Body to Pentax 645D
4x5 Large Format Camera Adapter Plate for DSLR - For Mamiya 645 mount camera
Fotodiox Pro Nikon F to Large Format 4x5 Adapter - Offset Camera Mount - 200 USD Large Format 4x5 to Nikon Mount Cameras w/ Offset Camera Mount for Scanning
Premium-grade Fotodiox Pro adapter, Top-notch craftsmanship
Off-center design with markings for stitching: 60x60mm, 68x43mm and 88x43mm image sizes
Multiple exposures are in a linear array, perfect for flat-stitching to reduce distortion errors
Inifinity focus possible with 120mm or longer focal length lenses and recessed lens board
SWEBO Lens to Telescope Adapter 4 camera Wang Bao Pentax four generation port
Vizelex RhinoCam for Nikon DSLR Cameras (FX Full Frame & DX APS-C) with Hasselblad V Lens Mount - for Shift Stitching Medium Format Sized Images - RhinoCam
... Currently there are two remaining contenders in the realm of panoramic cameras, both of which produce
6 x 12 and 6 x 17panorama models.
The Horseman SW612 is the most modular of the panoramic options, with the ability to work with 6 x 7, 6 x 9, and 6 x 12 film backs, as well as a choice of lenses ranging from 35mm to 135mm. Each of the lenses is set in a dedicated mount with helical focus rings for setting focus by distance or, alternatively, a ground glass back is available for focusing through the lens. A more contemporary variant, the SW612D camera is available to accept either Hasselblad V or Mamiya 645 digital backs, in addition to 6 x 7 or 6 x 12 film backs. For more expansive panoramas, Horseman also produces the SW617 camera body, which is available in a kit with the Schneider Super Angulon XL 72mm f/5.6 or 90mm f/5.6 lens...
Schneider Super Angulon65mm lens started me thinking about panoramic cameras. The lens covers the 5x4” format so a 6x12cm format on 120 roll film seemed ideal
The light green material from which the spring parts holding the reels are made from 1.6mm FR4. This is the material printed circuit boards are made from. The Mamiya C33 rollers can be clearly seen. The large hole is for the winder to engage on the spool. The other three positions have spool holding spindles.
I had originally planned the camera to have the lens fixed at the hyperfocal distance for f16. It is such a wide angle that there will be plenty of depth of field. Also the £240 price ticket of the proper Schneider helical focusing mount put me off somewhat.
After a while I started looking at the focusing mechanisms of 35mm camera lenses and following the advice of an APUG member who had built a wide angle 6x9 camera, I bought an Olympus 50mm lens with a broken aperture mechanism.
After stripping it down I realised that the 42mm wide rear element assembly of the Schneider lens would just fit inside the inner helical of the Olympus part as it had an internal diameter of 43.5mm.
The pictures below show the Schneider lens mounted on the Olympus focusing mechanism via another piece of CNC machined 9mm PVC. The whole assembly is mounted on a laminate lens board which can be removed from the camera body.
Schneider lens mounted on the Olympus focusing mechanism via another piece of CNC machined 9mm PVC
The next item I needed to think about was a viewfinder. The angle of view is similar to a 21mm lens on the 35mm format (about ninety degrees).
Voigtlander make a viewer which could be used if masked at the top and bottom but at around Ł100 I decided to learn about optics and build my own
1/1.9 large format ultra low light night vision color network module 1300000 HD network camera module
89 USD
I own 7 large format lenses,
which cover focals from 90mm (equivalent of a 18in 35mm) to 720 (equivalent of a 135 in 35mm).
All of them are good performers, relatively recent and multicoated, which is useful since my work is color. You will remark that I have a mix of each of the four major brands. Since I do not do work that require critical color matching (such as product illustration), this has not posed me any problem. All of my lenses are mounted on Technika lens boards, which is the de-facto standard for field cameras, smaller than the Toyo boards (I also own a Tech IV that I almost never use these days). I prefer the original Technika boards. Despite lensboards being very simple objects, there is actually a difference in quality. The four most frequently used lenses have a cable release permanently attached to them to speed-up set-up. It is necessary to remove the cable release before shipping, since in my experience, the cable releases are the only piece of equipment to have been damaged in transit (they break near the socket). The front element is protected by a UV filter that I remove if the weather conditions are fine. Those lenses, pictured on the first row (in the four compartments above the camera) are, left to right:
Fuji C 450/12.5 (The long lens to have if you have enough bellows: longest non-telephoto lens in a #1, amazingly compact and light for the focal, huge image circle that will cover even 7x17)
Nikkor M 300/9 (Compact and light Tessar-type lens of excellent quality)
Schneider Apo-Symmar 210/5.6 (Classic Plasmat lens, considered to be one of the best. Slightly wider than a normal lens, it is the easiest to focus among the lenses I own, thanks to the aperture/focal length combination. My second most used lens)
Schneider Super-Symmar 110/5.6 XL (Cutting-edge design for remarkable compacity, weight, and brightness compared to the classic Biogon-type wide-angle lenses, also more sharp corner to corner. I use it for more than 50% of the images, equivalent to a 24 in 35mm)
In addition, there are the following less used lenses, pictured on the second row (left to right):
Nikkor T 720/16 (Telephoto design, usable with less than 600m of bellows. I often leave this one behind, esp. on hikes. It's shallow DOF, small image circle for 5x7, and above all sensitivity to vibrations make it somehow difficult to use)
Rodenstock Apo-Sironar-S 150/5.6 (Compact and light, but image circle a bit tight for 5x7)
Nikkor SW 90/8 (The lightest of all modern 90mm lenses, it has also more coverage than other 90/8 lenses, making it appropriate for 5x7)
The 90 and 150 are carried in the same compartment, with the 90 secured in a Domke wrapper.
My camera of choice is the Canham wood field in the 5x7 format ...
... Older Tessars and Dialytes are often undervalued, hence cheap, while in many circumstances they yield far better portraits with much better bokeh and skin tones than brand new or celebrity lenses ...
Let’s finish by listing my favorite portrait lenses, a bunch that I call “the seven samurai”: 150mm Lanthar; 150mm Xenar (f4.5); 203mm Ektar; 210mm Heliar; 210mm Ysarex (f4.5); 240mm and 300mm single coated Ronar.
Each lens in this group is top notch while the group as a whole has sufficient variety in personalities and focal lengths ....
K. B. Canham Cameras Ultra Large Format Cameras
5x12,
7x17,
14x17,
12x20,
16x20
Bulldog 5x4 self assembly camera Large-Format Review
Reviews / Bulldog 5x4 self assembly camera Large-Format Review
The Bulldog is made in the UK and is on offer for £225 for the 5x4 version or £300 as the 10x8 version
Making a Bellows
The shape of the shade; tapered, square, parallel, rectangular.
It's a Rodenstock APO-Sironar-S 210mm which I use with my 5x7 and 4x5
I have that same lens (it's superb). Its image circle is 316mm per the datasheet. The diagonal of 8x10 film is 325mm, so quite close, within about 1/6" of the corners.
Since the film holder masks the edges of the film, you would likely see very little vignetting, but no movements would be possible.
I don't know where you got the 301mm IC diameter. That value is correct for the Sironar-N, which is a different design. This may be confusion caused by Sinar. Their Sinaron-S lens is a Rodenstock Sironar-N.
