Tuesday, August 28, 2007

Nikon D300 Financing 101


















When it comes buying a new camera, too many emotions can cloud the opportunities we may have right in front of us. Then the pricing of new models can scare us off and we tend to 'hold out' until some discounting miracle occurs, which normally happens when that model is about to be discontinued.

I am committed to maintaining state-of-the-art equipment with a minimal investment. Owning, but seldom using, multiple camera bodies is very costly long term. Technological advances make these items lose their value quickly enough and resale becomes truly disappointing when little cash value is left. I also don't need more than one camera body either, so learning is enhanced when concentrated on current technology. It also keeps us prepared for further developments that will add real value to our most precious commodity - knowledge.

Therefore, I am no longer a sentimentalist as I once was regarding my main shooter - I have plenty of antique cameras to fondle for that. This is a purely personal perspective and not one everyone shares, I know, but we all get so excited when new models come out - and equally dismayed when we can't afford one! I don't want to be in that position and have created a strategy to avoid it.

By viewing our cameras as we do leased items, we can maximize their value over time while we also minimize the actual cost of ownership. I adopted this approach when I sold my D70 to acquire a D200. I lost more money than I should have because I waited too long - a mistake I won't make again to acquire a D300. So, assuming you own a D200, here is my course of action to upgrade to a D300 as soon as they are available (I have already pre-ordered, BTW):

1) Buy new body at best price upon release - i.e., D200 = $1679
(future discounts offer little real savings over entire model life)
2) Sell current body & recoup an average 60% of purchase price - i.e., D200 = $1000
(estimated resale value of D200 when D300 is released)
3) Use new body for 24 months - repeat Steps 1 & 2

I have conservatively calculated that if I can recoup just 60% on my D200 DSLR body, the cost of ownership of a D300 DSLR will amount to $399.99 a year - or about $33.33 a month - for the next 24 months. If I keep the camera longer, that cost goes down even further.

It's a business expense for me as well, so I save again at tax time. By recapturing the remaining value in your D200 immediately, purchasing the Nikon D300 body can be no more expensive than a new prosumer body model. (A golden nugget here is the fact that the D200 isn't being discontinued. That will preserve resale value longer than if it was deleted from Nikon's lineup - our unique opportunity to upgrade!)

Therefore, I have decided I will NOT retain DSLR gear beyond 24-36 months - the rate of depreciation makes resale and new equipment acquisition a more expensive approach the longer you wait. In view of the enormous value Nikon is including in its newest upper end cameras, it would be financially smarter to purchase a new Nikon 'sooner than later' with such competitive pricing in play.

PS: Ritz Camera pre-orders list the D300 at just $1799 - let's hope that's the actual street price!

The Frugal Mule

D200 vs. D300 Features

The following is a compilation of the feature differences between the D200 and D300. With a proposed 60,000 unit production schedule each month, these compelling advancements will make the D300 the next most popular DSLR Nikon has created. Enjoy...

Sensor
• 23.6 x 15.8 mm CMOS sensor
• DX format
• RGB Color Filter Array
• Built-in fixed low-pass filter (with self-cleaning unit)
• 13.1 million total pixels
(• 12.3 million effective pixels
• 3:2 aspect ratio

Image processor
Nikon EXPEED
(Real-time lateral chromatic aberration compensation and refined high ISO noise reduction)

A/D Conversion
14 bit

Image sizes
• 4288 x 2848 [L; 12.2 MP]
• 3216 x 2136 [M; 6.9 MP]
• 2144 x 1424 [S; 3.1 MP]

File formats
• NEF (12-bit or 14-bit *, compressed or lossless compressed RAW)
• NEF + JPEG
• TIFF *
• JPEG (EXIF 2.21)

Scene Recognition System
(greatly enhances the accuracy of, auto exposure, auto white balance detection and auto focus
in the camera)

Picture Control System
(allows photographers to fine-tune and adjust fundamental rendering options for their pictures so they can define the exact tone, sharpening, brightness and saturation they prefer)

Dust Reduction
• Self-cleaning sensor unit

Auto Focus
• 51 focus points (15 cross-type sensors)
• Multi-CAM 3500DX

Focus Point
• Single point from 51 or 11 focus points
• Liveview (Tripod mode): Contrast AF on a desired point anywhere within frame

AF Area Mode
• Dynamic Area AF [9 points, 21 points, 51 points, 51 points (3D-tracking)]

Exposure Compensation
• +/-5.0 EV
• 1/3, 1/2 or 1 EV steps

Sensitivity
• Default: ISO 200 - 3200 in 1/3, 1/2 or 1.0 EV steps
• Boost: 100 - 6400 in 1/3, 1/2 or 1.0 EV steps

Viewfinder
• Frame coverage 100%

LCD monitor
• 3.0 " TFT LCD
• 922,000 pixels (VGA; 640 x 480 x 3 colors)

LCD Liveview (frame a photograph using the camera's high-resolution LCD monitor)
• Handheld mode: TLL phase-difference AF with 51 focus areas (15 cross-type sensors)
• Tripod mode: focal-plane contrast AF on a desired point within a specific area

Continuous shooting
• With built-in battery: up to 6 fps
• With AC adapter or MB-D10 pack and batteries other than EN-EL3e: up to 8 fps (for up to 100 consecutive shots using a SanDisk Extreme IV CompactFlash 1GB card)

Storage
• Compact Flash Type I or II
• UDMA

Vertical grip
• Optional MB-D10 battery pack / vertical grip
• One Rechargeable Li-ion Battery EN-EL4a, EN-EL4 or EN-EL3e or eight R6/AA-size alkaline (LR6), Ni-MH (HR6), lithium (FR6) batteries, or nickel-manganese ZR6 batteries

Not bad upgrade for just $1800...

For a great visual comparo of D200 vs. D300 features, go to the Digital Review.ca Website - excellent report there.


Mule

Shutter Life Expectancy

Now here is a worthy cause - shutter life expectancy based on reality!

You can select the camera you own and enter data into their database for a history of that camera's shutter life results - the existing info is very interesting - and somewhat scary too!

Go to: Shutter Life Expectancy

Mule

Sunday, July 1, 2007

Graphic Design with Photoshop CS

Have you discovered the power of creating fully finished graphics in Photoshop CS? With the ability to incorporate all your image editing, special effects with basic layout tools, you have essentially infinite creative control in one application.

Here's a sample of an ad I did entirely in Photoshop CS2. Normally, I would normally create bitmaps and import them into Quark Xpress for layout, but to get this look, and save a ton of time and aggravation, I did the whole job in PS CS.

One-Stop - Photoshop!
Taking a stock photo, I applied a texture effect to separate it from the more real instrumentation rack. Then, I chopped out the middle for some white space to add the message and added the drop shadows. Determining the best the layout with all the various elements being visible is a real designer's joy. Editing and resizing is so easily done inside PS CS. Color experimentation was another convenience that is not easily done in switching programs and reimporting images, etc. Matching the colorization of the stock image to the text was a snap - another long step in Quark Xpress. And the fact that type is rendered as vector art in PS CS2 now is another big plus!

Attached Image

Web Design with PS CS
Another well known venue for PS documents is the web. Design consists of creating logos, art, text and supporting images into one document. Layout is accomplished with a series of common elements that appear on each page and content for each webpage. Individual webpage are composed by making approporiate layers visible and saving the composite image as a JPG image. The JPGs are then imported into Dreamweaver or other web editor and treated as typical HTML pages with image links for navigation - simple, flexible, consistent and fun!

The following two samples are websites I designed entirely within PS CS2:


















Integrated Solutions


















Amberwood Custom Homes (still under construction)
In this site, we intend to include slide shows of custom home details and designs for selection and modification by customers.

The advantages of using PS CS is remarkable - every element can be created and manipulated in one document. Future edits and redesigns are easy, and output resolution can be maximized for print or web uses. Why would you use anything else?

Mule

Go Superwide - in Chicago!

Nothing beats a superwide view of life - broad, spacious, landscaping perspectives are always in vogue. Bigger streetscenes and panoramas are just waiting to be captured.

The Sigma 10-20/4-5.6 HSM DC ($499) is a great buy among the current crop of superwides. It ranks high in sharpness compared to similar Tamron and Nikon zooms - with the Sigma being the wider of the bunch. Let's take this superwide to Chicago and see what we can take in...

Attached Image

Attached Image

Attached Image

The Bean is a huge metallic art form/tourist attraction... intentional distortions are addictive with a superwide. You could shoot here all day!

Attached Image

Attached Image

Architecture is another subject you won't run out of in Chicago. With the Sigma 10-20, keeping the verticals and horizontals straight will create visually enticing scenes without obvious distortion. Getting creative is not hard work with this great optical value.

Yes, Chicago is a great place to go wide - superwide!

Superwide on the Inside: Custom Home Interiors with Sigma's 10-20 DC HSM

In preparation for a website I was commissioned to build, we shot a custom home interior for a custom home builder. I used Sigma's 10-20/4-5.6 HSM DC with all shot taken at f8 - f10 - the sweetspot for this superwide zoom. While DOF at f8 is not a problem at the 10mm setting, it becomes necessary at 20mm to go up to f16 for maximum depth.

Using your superwide with view camera techniques (swings and tilts), orient the lens to bring the image into proper alignment visually - a planoparallel relationship to the subject is needed to minimize distortion. Further corrections to straighten verticals can be made on the computer where compositions cannot be perfectly attained in the viewfinder. Then, go on to retouching and sharpening.

Fill flash was provided by my SB 600 / SB800 units and Lightspheres - in close quarters these have proven to be really effective where umbrellas are just out of the question as they cannot be hidden easily from the image area or provide the omnidirectional lighting needed for illuminating large spaces.

Without further adieu...

Attached Image

You don't need to shoot an entire room if you can communicate the purpose of each room with enough details - the sideboard added the details needed in this scene...

Attached Image

Attached Image

By necessity, I had to retouch out the feet lightstand in the hallway of this image...

Attached Image

Attached Image

The exaggerated lines in this bathroom scene are almost uncomfortable - I'll let the photo editor decide how much ceiling they would want to show here...

Attached Image

Some shadows (behind the door and by the nightstand) are needed to prevent the impression of an overlit image. My goal was to prevent the viewer from locating the source or direction of your lighting. I had a magazine editor ask me if I used additional lighting in this series - wow, each one was shot using the Lightshpere. I took that as a compliment!

Mule

A Lightsphere Wedding

As an early adopter of Gary Fong's Lightsphere flash modifier, I have touted its success to photogs looking for a better way to light at wedding and event assignments. In this blog, I include a sample image from a recent wedding that includes a simple but clear example of Nikon CLS lighting.

Attached Image

Deconstruct
Using the built-in flash as the Commander, you have a 33 foot communication range. An SB800 and SB600 were used on lightstands in Remote Mode and controlled at the camera through the Flash menu. Using the SB800 as a Commander permits control through its LCD interface - easier and quicker but you lose the use of a flash unit if it isn't well placed to light the picture. The built-in flash in this series was actually used to provide some fill at close range but I often turn off this flash and just use it to trigger the Remotes.

Each unit had a Lightsphere attached. I have modified mine with self-adhesive HVAC aluminum tape as shown here. This is to increase output when positioning the flash head straight on toward the subject where no reflective ceiling or wall is available.

Attached Image

Mounted on Bogen flash satnds, they were positioned in front of the group to the sides and close to the outermost individuals - with the Lightsphere/flash head assembly positioned straight up as Gary Fong recommends. This produces the least amount of shadow and maximum 'wrap' on the subjects. It worked in this instance because...

The Other Modifier
The ceiling was about 10-12 feet high - this is a major factor to consider in regard to light output - higher ceilings will force you to (1) angle the head toward the subjects for more illumination, or (2) raise the flash units up closer to your 'reflector' (ceiling) surface to reduce the length of the light path from the flash to the subject. In this image, they were placed a little over head height to cast shadows down and behind the group. As you angle the flash head more and more toward the subject, shadows will return as an issue to deal with - the Lightsphere only failing.

Attached Image

This pre-ceremony candid is a great example of 'wrap' lighting where walls aid the bounce effect of the Lightsphere.

Attached Image

Positioned straight up in close quarters, the Lightshere can use existing walls and ceiling to create a effective softbox effect, like here where we waited for the bride to emerge from a small room into the wedding hall.

Working Within Limits
Setting camera at ISO at 100 often pushes you to shoot near or at wide open with a slow f3.5 zoom - going to a 200 ISO adds a stop of DOF, so these units are working hard to expose well. I always set flash output by +3 in the camera's Flash menu for added available power.