Nikon Camera Over 2 hours of video tutorials
The independent guide to getting the most from your Nikon
Includes the latest models
Master your Nikon â€˘ Find the best kit â€˘ Edit & manipulate images
A guide to your Nikon camera Learn more about your camera with our handy guide
Guide to Nikon
Using your Nikon
08 Your Nikon Camera
52 Composing images with your Nikon camera
Lean more about your camera and which one to use as we get to grips with the newest, top-selling models
22 Guide to Nikon lenses Our guide to the best lenses for your Nikon, their uses, and which one fits your budget
30 Essential Kit for Nikon Must-have gadgets to enhance your shots
40 Guide to Nikon modes Explore the Nikon mode dial
30 Essential kit
6 The Nikon Camera Book
Composition rules and how to apply them
58 Stay sharp Lean more about focusing your Nikon
68 Metering with Nikon The principals and application of metering
74 Using flash Get the hang of this tricky technique
80 A guide to filters for landscapes Enhance your Nikon’s creativity with filters
“Focusing is one of the most important skills”
142 Upgrade your
black and white
Advanced techniques 92 One light portraits
Create portraits that capture your model
102 Coastal landscapes Capture the irresistible magic of nature
112 Discover the secrets of low light & long exposure Take creative images in the dark
122 Shoot sharper action Perfect sport and action photography
132 Vital kit tricks for macro Discover the tools you need in your kitbag to capture dynamic images of small subjects
One light portraits
122 Action shots
142 Upgrade your black and white shots Get the best black & white images
152 Discover the art of still life
Editing your Nikon images 160 The essential guide to editing Use Photoshop to transform your Nikon images
168 Photoshop fundamentals Improve your Nikonâ€™s photos in 5 minutes
172 Nikon Capture NX-D A guide to using Nikonâ€™s editing software
Get to grips with the perfect self-expression
Capture exquisite landscapes
The Nikon Camera Book 7
Your Nikon camera: Semi-pro
The D7500 is weather sealed so will mean that users should be able to use it even in tough conditions
SRP: £1,300 /$1.250 (body only)
The quality of the D500 in a smaller and more lightweight body Technical data Model Nikon D7500 Price £1,300/$1,250 (body only) Web www.nikon.com Megapixels (effective) 20.9 million Max resolution (pixels) 5,568 x 3,712 Sensor information 23.5 x 15.6mm CMOS DX- format Lens data Nikon F mount Zoom Lens dependent Focus/macro Lens dependent 30 – 1/8000 sec, bulb Shutter speed ISO sensitivity A,I 100 - 51,200 Exposure modes Auto, 16 scene modes, 7 special effect modes, P, A, S, M Metering options Matrix, Center-weighted, Spot Flash modes A, A+RE, AutoSS, AutoSS+RE, FF, RE, SS, SS+RE, RCSS, RCS, FOff Connectivity Hi-speed USB, HDMI, 3.5mm jack, Wi-Fi, NFC Weight 640g (without battery) Dimensions 135.5 x 104 x 72.5mm Batteries Rechargeable Li-ion SD/SDHC/SDXC Storage LCD 3.2” touchscreen Viewfinder: Eye level pentaprism SLR
14 The Nikon Camera Book
he D7500 is the latest DSLR release by Nikon – it is a more powerful alternative to the cheaper D7200. The new camera houses a 20.9MP DX-format sensor, EXPEED 5 processor and a 180K-pixel RGB metering sensor, which promises to offer the same impressive image quality as the popular D500. It will perform well in all lighting conditions and impressive ISO range of 100 to 51200, which is expandable to ISO 1640000 like in the D500. The Live View autofocus is much quicker compared to the D7200, which Nikon attributes to the high-spec EXPEED 5 processor and the D7500 is promised to offer faster image processing – you’ll be able to hit an impressive 8fps continuous shooting. It offers AF precision with a thorough 51-point AF system even down to -3 EV so users will be able to track, lock onto and keep subjects in focus even when the light is low. The 180K-pixel RGB metering sensor together with the Advanced Recognition system will help to capture dynamic compositions. The D7500’s the in-camera Electronic Vibration Reduction will help to stop any unwanted camera movement in your movies and the it is the first Nikon DSLR to feature a built-in flash that supports radio-controlled Advanced Wireless Lighting. It has a slimmer body with a deeper grip that gives it a nice hold and although it is not as heavy and solid as the D500 it still feels well-made and
robust. The tilting touchscreen will aid composition in difficult conditions and the user will be able to operate the AF and shutter release functions when shooting in Live View. This DSLR is the ideal choice for enthusiatic movie-makers as it will enable you to record rich and detailed 4K Ultra HD or Full HD videos for up to 29 minutes 59 seconds through an impressive range of NIKKOR lenses while using pro-level video features like power aperture control to adjust aperture while recording and touch focus control. Create beautiful 4K Ultra HD time-lapse movies. Movies can be recorded in MP4 or the conventional MOV format, allowing easy playback. The D7500 adjusts to your creative workflow with the freedom to record to an external device, the camera’s memory card or both simultaneously. Frustratingly, the D7500 only has one card slot rather than two especially since the D7200 below it and the D500 both have two.
Summary The D7500 is packed full of impressive features, whether you shoot stills or video there will be something for you. Packed with the kind of power you’d expect from the D500 in a more lightweight body.
Your Nikon camera: Semi-pro
SRP: £495 with 18-55mm lens (UK only)
An entry-level camera that packs in some very handy extra features
Technical data Model Nikon D5600 £495 UK only Price Web www.nikon.com Megapixels (effective) 24.2 Max resolution (pixels) 6,000 x 4,000 23.5 x 15.6mm CMOS DX- Sensor information format Nikon F mount Lens data Lens dependent Zoom Lens dependent Focus/macro 30-1/4000sec, bulb Shutter speed ISO sensitivity A, 100-25600 Exposure modes Auto, 16 scene modes, 10 special effects, P, A, S, M Metering options Matrix, Centre-weight, Spot Auto, auto+RE, AutoSS, Flash modes AutoSS +RE, FOn, RE, SS, SS+RE, RC+SS, RCS, FOff Connectivity Hi-Speed USB, HDMI, 3.5mm jack, Wi-Fi 415g (without battery) Weight Dimensions 124 x 97 x 70 mm Rechargeable Li-ion Batteries Storage SD, SDXC, SDHC 3.2”, 1037k-dot TFT LCD Viewfinder: Eye-level pentamirror SLR
he Nikon D5600 is the company’s higher entry-level camera, sitting above the D3400. A modest upgrade of the D5500, it shares many of the same features as its beginner brethren, but offers users the opportunity to add on extras for its slightly higher cost. To start with it comes with a 1037k-dot touch screen that’s vari-angle, helping you shoot from unusual perspectives. As well as using touch controls to operate the camera, traditional buttons are still there; it is, however, a streamlined camera aimed at beginners, so the back isn’t too cluttered up by physical dials - most of the controls can be accessed by tapping the i button. It’s a small camera, so perfect for those not looking for anything too bulky; it weighs just 415g (body only), yet Nikon has still managed to include a pronounced grip. A 24.2MP DX sensor without a low pass filter delivers plenty of detail, and an EXPEED 4 processing engine that helps the camera shoot at 5fps. A big advantage over the D3400 is its built-in Wi-Fi, allowing you to easily share your shots as well as shoot remotely. The maximum ISO setting of 25,600 enables you to shoot in really dark environments and the 39 AF points with nine cross types gives more focus accuracy than can be attained using the Nikon D3400. The D5600 also boasts the SnapBridge connectivity, just like the D3400.
The D5600 is more compact than Nikon’s premium DSLRs but it has a slightly more pro feel than the D3400
Summary A great starter camera that keeps things simple while adding on useful features such as a variangle touch screen and Wi-Fi. It’s certainly worth the extra money if those options would come in handy for you.
SRP: £380/$400 (with 18-55mm lens)
With a guide mode to help you move up from compacts, this is one helpful camera
Technical data Model Nikon D3400 Price £380/$400 (with 1855mm lens) Web www.nikon.com Megapixels (effective) 24.2 Max resolution (pixels) 6,000 x 4,000 Sensor information 23.5 x 15.6mm CMOS DX- format Lens data Nikon F mount Zoom Lens dependent Focus/macro Lens dependent Shutter speed 30-1/4000sec, bulb ISO sensitivity A, 100-12800 Exposure modes Auto, P, A, S, M Metering options Matrix, Center-weighted, Spot Flash modes A, RE, SS, SS+RE, FF, RCSS, RCS Connectivity Hi-speed USB, HDMI, 3.5mm Stereo mini-pin jack Weight 395g (body only) Dimensions 124 x 98 x 75.5 mm Batteries Rechargeable Li-ion Storage SD, SDHC, SDXC LCD 3”, 921k-dot TFT, fixed Viewfinder: Eye level pentamirror SLR
The D3400 is perfect for those looking for a compact body that doesn’t take up too much space
he first thing that strikes you about the D3400 is how compact it is – it isn’t far off the size of some Micro Four Thirds cameras. Inside, however, it packs a 24.2MP DX sensor and EXPEED 4 processing engine, which delivers impressive image quality in addition to Full HD movie footage at up to 60fps. One of the biggest changes from the D3300, however, is the presence of the ability to
share images via the SnapBridge connectivity feature that enables you to sync your photos as you capture them from a smartphone via Bluetooth. The 11-point Multi-CAM 1000 autofocus sensor module does a good job of picking fast and accurate focus in most lighting, only hunting slightly in much lower light situations. It comes with 11 AF points (one cross type) and focusing modes are selected according to the shooting mode selected: spot focus for macro, area focus for landscape and so on. The controls of the D3400 have been kept simple, as the three-inch rear LCD offers easy access to all the information required. The LCD also gives access to the various filter options and a guide mode, but is fixed and not touchscreen. The biggest thing missing is Wi-Fi, however, which means that some of the potential controls that SnapBridge offers on the D5600 are not available here.
Summary Beginners will fall for this affordable, lightweight option that walks you through advanced-level shots with its super-helpful Guide Mode. It will appeal to those undecided between a full-on DSLR and a smaller, more compact option. The Nikon Camera Book 15
Essential kit for Nikon Store the memory
The place to record your shots
SanDisk 32GB Extreme PRO V30 SDHC Card (£26/$20)
With cameras packing in more pixels than ever, you want a card that writes fast so you can keep on shooting to your hearts content. This card offers a write speed of up to 95MB/s meaning your camera will less likely hit it’s buffer limit. A bonus is that this card will let you review and download your images a lot quicker, meaning you don’t have to wait to see your fantastic images.
Memory cards Most cameras work by saving images and video files to a storage device such as an SD or MicroSD card which slot into the camera. These memory cards come in different sizes – the bigger the card the more images you can shoot before you run out of space. It’s not always a great idea to use a huge memory card to store all of your images on, though, as if it corrupts you will have lost the entire shoot. Sometimes it’s better to split a shoot over a series of smaller cards. When you buy your camera the accompanying manual will tell you what type of card fits into the
Samsung 32GB MicroSDHC PRO PLUS with SD adapter (£8/$12)
This microSD card with SD adapter will work in a range of cameras and devices boasting blazing-fast read & write speeds of up to 95MB/s & 90MB/s respectively, which is ideal for professional shooting and 4K UHD recording. They’re perfect for casual snapping, as well as those who plan to shoot RAW .
Transcend SDXC 128GB (£65/$80)
Built to keep up with professional photographers, the Transcend SDXC card offers a super fast 90MB/s read and write rate to keep up with fast shooting so you don’t miss the action. The card is available from 8GB all the way up to 128GB, with the bigger cards being ideal for shooting high-quality video. Additionally, the top-tier MLC NAND flash chips that are located inside provide consistent longlife durability and endurance. It even comes with exclusive RecoveRx photo recovery software.
The flash chips provide consistent long-life durability and endurance
and come with a lifetime limited warranty too
SanDisk Exteme Pro Compact Flash 32gb (£40/$49)
Compact Flash cards are faster and offer more storage space than their SD cousins but they are pricer and they don’t fit into all DSLR cameras. This high speed SanDisk card is available from 16GB to 128GB and offers write speeds up to 90MB for the smaller cards and up to 100MB for the 128GB card. The price of these make them an invest in themselves but one that’s well worth it if speed matters to your photography.
38 The Nikon Camera Book
With high-speed transfer it’s easier and quicker to back up your images and empty cards for their next use
Plenty of space
Bigger cards are a good choice if you shoot video or capture images in RAW+JPEG
unit. Nikon releases a list of SD cards compatible with various makes of camera too. Check their website to make sure that if you’re buying another name brand it will work in your camera and that you’ll be able to make full use of it’s speed and features. You’ll need to format your cards regularly to make sure they are operating at their best with your camera, and make sure you back up your shots as often as you can to make sure you don’t lose them.
Keep your cards safe SD card
s damage to th may be small, but images so ke em equates to damaged eping them safe and prot is extremely ected important. M always have ake sure you a case hand y to store th whether it’s em in, a bigger case that can hold a lot and offe r maximum protection or a smaller wa llet that will sli p easily into your kit bag lik Tank Pixel Po e the Think cket Rocket (£12/$15).
Essential kit for Nikon Protective material
The soft fibers on the lens pens won’t scratch or damage lens or filter surfaces, unlike some fabrics. You can use them as many times as you like without having to be cautious about the marks they might leave behind to expensive kit
Nikon Lens Pen Cleaning Kit (£28.49/$35)
Dirt on your lens is the surest way to ruin a perfectly good image so making sure it’s always dirt and dust free is very important. This kit contains three cleaning pens to brush away marks and smudges from the surface of lenses, filters and camera viewfinders. A regular dusting will save you a lot of time having to edit out dust on your images, which can be particularly fiddly if it falls over complex areas of the shot.
Keep it clean
Ways to remove the dirt
Easy to carry
The case is make from 100% nylon and is small enough to carry in your camera bag or backpack with ease
Kinetronics SpeckGrabber (£12/$8) Attack finger prints
The pens are ideal to remove finger prints and smudges from your lenses, leaving your shots free from annoying marks
Cleaning products The more you clean and maintain your gear the longer it lasts and the better it performs. Cleaning products need not be complicated and if you do it regularly you’ll avoid having to do any heavy-duty maintenance. Keeping your lenses, viewfinder and sensor clean is vital to keeping your camera working well and producing good images. But making sure there’s no dirt on the body of the camera that can slip into the SD card slot or battery chamber is just as important. If you take due care that your camera doesn’t get dirty then cleaning becomes easier too.
Protect you r viewfinder Your viewfin
der is as pr your lenses ecious as , so add a pr ot prevent sc ratches. Yo ective covering to u could pick glass view finder or pl a touch astic If you wou ld prefer so sticky covering. mething m elaborate the Flip ore (£33.55/$2 bac Angle Viewfinde r covering on 0) might do. With th e you keep it clea can simply wipe to n as many times as you need to .
Get rid of a pesky bit of dust on your or lens with a SpeckGrabber pen that has an adhesive surface to simply pick up the dirt and remove it. The pen works best with spots, hairs or dust you’ve identified as being a problem, and all you have to do is simple dab up and down until the problem piece of material has been removed. You can get replacement tips to use when the old one has become less sticky.
nikon Cleaning Cloth (£5/$15)
An all purpose cleaning cloth is a great addition to your kitbag to keep your camera body, lenses and other accessories dust free and in pristine condition. This cloth from Nikon folds up into a tiny pouch that can clip onto anywhere in your kitbag, making it easily accessible for a quick wipe before you start shooting. The soft fabric won’t scratch or damage your kit, and acts as a compact way to remove dust particles when out on a shoot.
Always replace lens caps as soon as you can and never leave your camera body exposed without a lens on or a cap to protect it. If you’ve been on a shoot outdoors, especially on a beach or dusty area, then take the time to clean your kit and remove any sand particles before packing it away. For compact camera users a soft cloth and a gentle wipe is sufficient. If you’ve used a tripod in the sea, it’s also important to wash it off with clean water when you get home to avoid rusting. Regular maintenance is so important to keep your kit healthy.
“The more you maintain your gear the longer it lasts. If you take due care that your camera doesn’t get dirty then cleaning becomes easier too”
Nikon Cleaning Brush BU-1 (£18/$8)
This simple brush can slip into any camera bag and is built to clean out the battery chamber of specific COOLPIX cameras. Keeping the chamber clean and free from unwanted debris helps to maintain the performance of your camera and should become part of your cleaning process. Simply slip the battery out, give the chamber a brush and reinsert when you’re done. If you were to use an ordinary brush you may find the bristles remain behind, causing even more problems.
The Nikon Camera Book 39
Using your Nikon
Nikon metering options
How your Nikon camera controls metering
Your Nikon camera can offer you a choice of three metering modes. Each one is useful for certain kinds of shot under certain kinds of lighting conditions. The metering sensor inside your Nikon camera measures and responds to light to help you balance your shots or compose creatively. Set your metering options to one of the following depending on the kind of shot you’re taking. Matrix metering (also known as evaluative metering) is used to balance your shots. It meters the entire photograph and tries to allow for a balance of light and dark across it. This is perfect for well-lit scenarios such as daytime landscapes, but less suitable if you have any directional lighting involved such as a sunbeam or spotlight, or if you’re trying to capture dramatic contrast. Centre-weighted metering is designed to add focus to the centre of your photograph. The balance of light and dark will be concentrated here, while surrounding areas may be shadier or lighter depending on the lighting conditions. Centre-weighted metering is great for face-on portraits as you can balance the lighting on the subject’s face, making it into a focal point. It’s also great for photographs of people on stage. Compose your shot with the subject in the centre and the stage lighting will be fairly balanced, showing up their features clearly while the rest of the shot will be darker, adding drama. It’s also good for creative shots such as silhouettes against a bright backdrop. Spot metering is best for portraits but can also be used for more creative shots. Areas of the photograph area are defined as spots to be metered. It’s very accurate so it’s the best for dramatic contrast.
72 The Nikon Camera Book
© David Clapp
With an even spread of blacks and whites, the camera makes easy work of this situation using evaluative metering
A problem photographers can face is colour. The camera’s metering system, unlike our eyes, doesn’t see the world in colour; it measures light in luminance. Certainly colours appear extremely vivid to the human eye. The camera sees these simply as tonal shades and interprets the result without the intensity we attribute. As we approach our subject, it can often become difficult to predict exactly how the metering will be affected at first. In the days of film photography this often presented huge problems, but with digital photography it’s easier to learn just how the camera reacts to tones and shades by exploring the information in the histogram. In this respect, it is worth reading about the Zone System. This helps you identify where midtones, shadows and highlights sit relative to each other by separating the tonal values into distinct zones. Approaching the subject with the understanding of where these shades should be placed helps when setting exposure values. It’s surprising how the untrained eye can misconstrue a bold colour like the reds on this mushroom as very bright. The camera sees the red as a midtone.
© David Clapp
Using your Nikon
© David Clapp
© David Clapp
Keep the whites bright
In-camera metering will try to push reflected whites of this cotton grass towards middle grey, underexposing the shot and making it murky
The histogram bunches to the right as it recognises the amount of light tones in shot
© David Clapp
“Metering systems are very sophisticated, but still get confused with tricky conditions” Incidental metering doesn’t suffer from this miscalculation, as it is based on a measurement of light falling onto the subject. The subject can be any tone, reflective or not, and the light reading will remain consistent. Portrait or product photographers, in particular, base their metering calculations on handheld incident metering, rather than reflected in-camera metering to get a more realistic reading. Despite this however, if the image has a wide range of reflected light and tones, in-camera metering still works well. Metering systems are very sophisticated, but still get confused with tricky conditions. The biggest issues occur when a single luminescence fills the scene, like a blanket of snow. As the camera tries to evenly measure, it is bombarded with reflected light. It tries to position
the white in the middle of the tonal range, as it is convinced this is where the correct exposure should be. This results in a shot that is significantly underexposed. The same thing occurs when shooting excessively dark subjects; the camera will lift the blacks towards the midtone leaving you with a shot that is overexposed. With modes like Aperture Priority (Av) and Shutter Priority (Tv), in-camera metering can be difficult to get right. As the camera bases the shutter speed or the aperture on the in-camera meter reading, the image can be prone to over- or underexposure. This is where the Exposure Compensation mode comes into its own. Let’s now consider the previously discussed snow scene once again. With so much reflected light, the camera will consistently underexpose unless the
camera is set to compensate. By setting the camera to overexpose by around one and a half stops, the whites will remain bright and clean. The exact same approach in the opposite direction works with darker subjects, too. For film photographers, both amateurs and professionals, understanding metering and gauging correct exposure is absolutely vital. Getting to understand photography in this intimate way is a true art form. Digital photographers must also pay heed to these rules, but there is a huge safety net to fall back on – the histogram. With instant exposure feedback at the fingertips, a quick test shot can sort out any problems and let the photographer make any necessary adjustments accordingly. Get it right in-camera to avoid time editing. The Nikon Camera Book 73
Combine the ideal elements within the scene at night
Cover the viewfinder With an SLR it’s important to cover the viewfinder or close its blind during a long exposure, as otherwise light can leak in and bounce around inside the camera, resulting in strange, ghostly patches.
Long exposures need to be composed just like any other shot, and guides such as the rule of thirds are just as useful. It’s also important to consider the whole scene and ensure that there’s something of interest in the foreground, middle and background of the composition, just as you would with an image taken in daylight. However, you can use light, or the lack or it, to reveal or conceal parts of the scene. One of the most important aspects to remember about shooting exposures of several seconds or more, is that moving objects may be recorded as a blur or, if they move fast enough, not at all. It depends how fast they move and how long the exposure is. Clouds, for example, can be recorded as a blur to give a sense of movement or an impending storm, but if you use a very long exposure they may cover the whole frame. And while the dark bodies of passing cars will be invisible, their bright lights will registered as streaks of light.
Big Stopper, Little Stopper
© Tom Engelhardt
Compose with care
Shooting at ISO 1600 with the 5D Mark III means noise levels aren’t too bad, but the image still needs careful treatment
Noise can be problematic with areas of uniform tone, like the sky in this shot captured at a moderate sensitivity setting of ISO 800
Aurora over Reine
An ND filter is useful when you need to extend exposure time Lee Filters’ Big Stopper is one of the most popular neutral-density filters available for extending exposure time, but with a tenstop rating, it’s stronger than you need in low light or dusk conditions. The Little Stopper makes a great alternative, cutting out 6 EV of light, turning an exposure of 1/4 second into a 15-second one.
2x © Angela Nicholson
116 The Nikon Camera Book
© David Clapp
Extending the exposure time to 50 seconds has created a much more interesting image with attractive blurring of the water. The clouds have only blurred a little
Mobius Arch, California
Aim for high quality results
Long exposures can create unique image problems
During long exposures the image sensor inside a camera starts to heat up, and this results in image noise. Unlike high-sensitivity noise, it is characteristic of the sensor, a bit like a fingerprint, and that provides a means for removing it. The easiest method is to use the in-camera noise-reduction system, but this doubles the time it takes to produce every image. When activated via the menu, long-exposure noise reduction will automatically kick in whenever there’s an
exposure of one second or longer. After the image exposure is made, the camera makes another of the same duration without opening the shutter. This dark frame enables the camera to identify where the noise is before extracting it from the image. To save time on each shot, it’s also possible to do this dark-frame extraction yourself, but it’s important to make a dark frame at regular intervals as the amount of noise will build up as the sensor continues to warm.
Deal with long exposure noise © Angela Nicholson
Three options available for tackling this issue
In-camera Your camera has two methods of noise reduction: high sensitivity and long exposure. The latter doubles the time each shot takes, but it’s the easiest way.
Use software Lightroom and Photoshop can reduce noise for long-exposure images, but dedicated software such as Imagenomic Noiseware can also do the job.
Black-frame extraction With the lens cap on, shoot a dark frame of equal length to the image’s. Put the dark image layer above the image and set the blend mode to Subtract.
Stack images Merge images of the same scene to reduce noise visibility
Change sensitivity settings When you find a great photo opportunity, but light levels are very low and you don’t have a tripod, the only option is to set a high-sensitivity setting.
Use continuous drive Your aim is to produce a series of images as near to identical as possible, so switch the camera to continuous drive and hold it as still as possible.
6x © Angela Nicholson
Shoot a sequence Be sure to set a shutter speed that enables you to get sharp shots, then shoot a sequence of ten images with the same exposure settings and composition.
Download the images Open the images in Adobe Bridge, select the ones you want to work with, then click Tools> Photoshop>Load Files into Photoshop Layers.
Align the layers There’s likely to be a little variation in composition, so use Edit> Auto-Align Layers to ensure that all the images overlay each other and everything lines up.
Apply Median Stack Select all the layers and head to Layer>Smart Objects>Convert to Smart Object, before selecting Layer>Smart Objects>Stack Mode>Median.
The Nikon Camera Book 117
Editing your Nikon images Better, brighter skies
Chase away those grey days with this easy sky repair
a sky Begin by using the Quick Selection tool select your sky area. If the tool grabs areas of the image 1youtoSelect don’t want, hold down the Alt key and paint over the area.
Depending on your version, the selection can be edited further by using the Refine Edge button.
New masked layer Press the Add new layer button Fade away the grey Set your Foreground colour to at the foot of the Layers palette. The selection is converted sky blue. Grab the Gradient tool and use the Foreground to 2 3 into a mask for this layer. This will limit the effect to the sky, and Transparent preset. Set the mode to Linear, click the top of your having it on a new layer protects the original from alterations. Set this layer’s blending mode to Overlay.
canvas and drag down towards the horizon to create a blue gradient that fades away.
Boost colours and sharpness Go from dull and blurry to bright and crisp Colour and detail are two elements that can make or break any photo. If one is missing, the other one better be something special to compensate. If both are weak, you know you are in trouble. But all is not lost! The neat little tricks we show below can do wonders for a shot that is a little too dull or a bit soft. They can infuse the image with life and give it a pop that demands attention. That being said, this is one editing trick that cannot perform miracles. If the photo is devoid of colour and detail, this won’t help solve the problem. There has to be some basic elements to work with so bear this in mind when you are out on a shoot. However, if your confident your image only needs a slight tweak to uncover its inner beauty, we encourage you to try this technique out.
Make an image pop by turning attention to the colour
Pull out the details Create a copy of Add Vibrance Add a Vibrance adjustment layer by Final pop Now create a composite layer on the top of the Background layer to work with. Go to clicking the Vibrance icon in the Adjustments palette. the stack by pressing Cmd/Ctrl+Alt+Shift+E, and then on 1Filter>Sharpen>Unsharp 2 3 Mask and work with the settings until Pump up the Vibrance slider then increase the saturation. Use this new layer go to Filter>Other>High Pass. Enter a setting of you can see details from the image. In this example we used an Amount of 72%, Radius of 4.8 pixels and Threshold of 5 levels.
170 The Nikon Camera Book
the layer mask that’s automatically added to paint out the adjustment where it’s not required.
3 pixels. Change the layer’s blending mode to Overlay to give a final touch of edge sharpening.
Editing your Nikon images Rich sepia tones
This sepia trick allows for maximum control
adjustment layer Begin by adding a Levels adjustment layer. In the Histogram palette, pull the outer 1sliderAdd handles in to meet the edges of the chart. Take the
midpoint slider and move it to the left to brighten the image a bit so that it will work when desaturated.
Black and white Next add a Black and White adjustment layer over the Levels adjustment. In the 2 Adjustments palette, look for the drop-down menu near the
top. These are presets used to create different black-and-white effects. Here we used the Neutral Density settings.
Photo Filter Add a Photo Filter adjustment layer. From the filter drop-down, select the Sepia option. If 3 the colourisation isn’t strong enough to suit you, increase the Density slider to enhance the effect. Try the Preserve Luminosity checkmark both on and off.
“A frequently overlooked feature Fake focal blur of Photoshop is the Lens Blur” Use a manufactured focal blur to make your subjects stand out To draw attention to your subject you need to remove focus from the background. Different lenses have different focal lengths that help to create many different focal blurs. One way to enhance the focus of a photo’s subject is to manufacture focal blur around it. This technique shows a precise method for doing just that. A frequently overlooked feature of Photoshop is the Lens Blur filter, which not only does an outstanding job of simulating focal blurs, but can even be set to read a depth map that’s been saved to a channel. This enables Photoshop to calculate a more accurate effect.
Draw attention to your subjects with some deft blur
Isolate the subject Create a copy of the background, Remove the subject On the copy layer, use the Clone Lens Blur Go to Filter>Blur>Lens Blur. In ‘Depth Map’, form a selection around the subject using the tool of Stamp tool to roughly remove the subject. Press Q to enter set the Source to the selection you saved in the previous 1yourthen 2 3 choice. We used the Pen tool because of its accuracy. Quick Mask mode and use the Gradient tool to drag a white step. If the blur effect appears backwards, check ‘Invert’. Once done, press Cmd/Ctrl+J to copy the subject to its own layer, then turn off its visibility.
to black linear gradient down from the horizon to the subject. Press Q again and save the selection.
Adjust the settings to get a suitable blur and press OK. Turn the visibility of the subject layer back on. The Nikon Camera Book 171
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