Lina's Photography

Macro Photography

2013-12-14T05:09:00.002-08:00

Macro Photography

Taking close-up pictures of small things is called "macro photography." I have no idea why. Perhaps because the small things in macro photography are generally larger than the things you are taking pictures of when doing "micro photography". If you really want to be pedantic then you should say you are doing "photomacrography".

What Kind of Camera

Point and shoot digital cameras can have remarkable macro capabilities, but for best results you want a single-lens reflex camera. These allow you to attach special-purpose macro lenses and show you in a bright optical viewfinder what you will get on the sensor.

A typical setup might be a Canon Digital Rebel XTi (Black) (review) with a Canon EF-S 60mm f/2.8 Macro USM(review). This lens is designed for the small-sensor Canon cameras and gives a working distance equivalent to 100mm on a full-frame camera. The lens is specified to focus down to "1:1" or "life size". This means that the smallest object you can photograph that will extend to the corners of the final digital photo will be the same size as the sensor inside the Canon Rebel camera, 15x22mm. A professional photographer might use Canon EOS 5D(review) and a lens designed for full Canon EF 100mm f/2.8 Macro USM (review). Confusingly, this lens is also specified to focus down to "1:1", but this time the sensor is 24x36mm in size, the old 35mm film standard. So you can't take a photo of something quite as small as with the cheaper equipment.

In the film world, the 35mm camera systems had comprehensive range of macro lenses and accessories and some medium format systems, such as the Rollei 6008 would have at least a few lenses and extension tubes. Only the extremely patient ever did macro photography with a 4x5 inch view camera.

Doing it all with a Normal Lens

In the good old days a 35mm single-lens reflex camera came with a 50mm "normal" lens. These lenses were extremely light, rugged, and high quality, so naturally the consuming public abandoned them for heavy, fragile, low quality zooms. But that's another story... Anyway, suppose that you are out in the woods with your Canon EOS 5D, a full-frame camera and a 50mm normal lens, and you want to take a picture of the tip of a pine needle. [Everything in this section applies equally to using a 30mm prime lens, e.g., Sigma 30/1.4, on a small-sensor camera such as a Canon Rebel or Nikon D-series.]

First, though, you want to take a picture of the moon. That's pretty far away, so you feel comfortable setting the lens focusing helical to "infinity". The "nodal point" of the optics will now be 50 millimeters from the plane of the sensor. [Note: exposure for the moon should be roughly f/11 and 1/ISO-setting.]

The effort of setting up your tripod is so great that you become tired and fall asleep. When you wake up in the morning, there is a bear standing 10 feet away. You refocus your 50mm lens to get a picture of the grizzly. As you turn the helical from "infinity" to "10 feet", notice that the optics are racked out away from the sensor. The nodal point is a bit farther than 50 millimeters from the sensor plane. The lens is casting an image circle somewhat larger than the 24x36mm sensor. Some of the light gathered by the lens is therefore being lost but it isn't significant.

After snapping that photo of the bear, you notice that his fangs are glistening. These aren't going to appear very large in your last shot, so you move up until you are about 1.5 feet from the bear. That's about as close as the lens helical will let you focus. The nodal point is now pretty far from the lens. Extra light is spilling off to the edges of the frame , but still not far enough to require an exposure correction. The bear's face is 1.5 feet high. You've oriented the camera vertically so that the face fills the 36mm dimension. 36mm is about 1.5 inches. So that means you are working at "1:12". The subject is 12 times the size of the subject's image on the sensor.

You're losing some light, but also you notice that you don't have too much depth of field. A 50mm lens focussed down to a foot from the subject only has a depth of field of 1/16th of an inch at f/4. No problem. You haul out a big electronic flash and stop down to f/11. Now your depth of field is a whopping ... 1/2 inch.

Looking down, you become fascinated by some pattern's in the bear's claws. Each one is about 1.5 inches long. You'd like to fill the sensor's long dimension (36mm) with a claw, which means that the subject and its image will be the same size. You want to work at "1:1". But the folks at the lens factory skimped on the helical. You can't rack your optics out far enough to focus at 1:1. It looks like that pine needle tip photo is completely out of the question.

Why did Canon limit your ability to focus close? For starters, at 1:1 the lens would be so far away from the sensor that it would cast a huge image circle. The standard 24x36mm frame would only be a tiny fraction. So only about 1/4 of the light gathered by the lens would reach the film, i.e., you'd have a two f-stop underexposure if you used the same exposure setting that you'd used for the picture of the bear when he was 10' away. A scene that required a lens setting of f/16 at infinity would require a lens setting of about f/8 at 1:1. All this other light would be bouncing around inside your camera and lens, reducing contrast. Finally, a fixed stack of optical elements can't be designed to form sharp images at so many different focussed distances.

Close-Up Lenses

Your eyes don't focus so great on really small things either. Do you try to pull your cornea a foot away from your retina? No. You stick a magnifying glass in front of your cornea. You can do the same thing for your normal lens. Unlike your cornea, it even has convenient threads for attaching a magnifying glass. The magnifying glass screws into the same place where a filter would go.

A camera store could never sell you a "magnifying glass" for $50 so they call these things "supplementary lenses" or "close-up lenses". Good things about close-up lenses:

they don't require any exposure corrections
you can throw a couple in your pocket in case you need them

Bad things about close-up lenses:

they aren't very high quality though they might be good enough if you stop down to f/16 and if you can find two-element close-up lenses (e.g., Nikon-brand) instead of the cheapo one-element ones.
you have to take them on and off constantly if you are taking pictures of things at different distances.

Close-up lenses are not a common professional choice, but they are described fairly thoroughly in the Kodak Professional Photoguide.

At right: a model of Sacre Coeur, captured with a Minolta 50mm lens and single-element Minolta-brand close-up lens. Perhaps not the world's best image, but keep in mind that the photographer was 11 years old at the time of exposure.

Macro Zoom Lenses

Macro zoom lenses are not macro lenses. They don't allow significantly greater magnification than a 30mm or 50mm normal lens and they deliver low quality.

Macro Lenses

What you want is a macro lens. Fortunately, it is difficult to buy a bad macro lens. This is kind of odd in a world where 90 percent of the lenses sold are bad. Perhaps it is because anyone in the market for a macro lens is already fairly sophisticated and quality-conscious. Partly it is because it is easier to make a single focal-length lens than a zoom.

The best macro lenses are the latest autofocus mount models made by Canon and Nikon, typically in focal lengths ranging from 50 to 200mm. Each lens will focus continuously from infinity to 1:1. You can shoot the moon and capture the bear claw without stopping to change lenses or screw in filters. How do these lenses work? Do they just have a much longer helical than the 50mm normal lens? Yes and no.

Yes a macro lens helical has much more travel than a normal lens helical. You can watch the front element move an inch or two. However, these helicals aren't just pushing a stack of glass back and forth like the 50mm's helical. Inside one of the elements is moving ("floating") so that the optical design changes to a more appropriate one for close-up photography. Thus you get sharp images at all focussed distances.

How do you choose a focal length? The same way you do with a non-macro lens. If you can't get very close to your subject at a soccer game, you don't pull out a normal lens; you bring out a 300mm telephoto lens. If you can't get close to an insect without it getting scared and flying away, then you want the 200mm lens and not the 50. If you want to compress features in a woman's face, you use a 105mm lens rather than a short wide angle lens. It is the same with macro work; longer lenses give you a flatter perspective.

At right is an image (from my Christina page) taken with an older design Canon EF 50mm f/2.5 Macro, (compare prices). This lens incorporates a floating element for high image quality, but only goes to 1:2 without a "life size converter" (sort of like a telextender) that you stick between the lens and the camera. The 50 is also annoying because it has the ancient non-USM Canon motor. So it can't do simultaneous AF and MF like the ring-USM lenses.

Check the Canon and Nikon system pages for a current list of all the macro lenses made by those companies for their bodies.

Sigma, Tamron, and Tokina make excellent single focal length (prime) macro lenses. If you're using a system other than Canon or Nikon, these may be better quality than your own manufacturer's lens. If you're using Canon or Nikon, you might be able to save a few dollars, at the expense, perhaps, of slightly less rugged mechanical construction. Among the three companies, Tamron historically has produced the best macro lenses.

If you feel like spending a lot of money then what you want is a 6x6 cm Rollei 6008 and digital back. The Schneider 150 is probably the best macro lens available for the Rollei (only $3425), though if you're using a digital back with less than a 60mm sensor size, the Schneider 90mm macro ($3900) might work nicely.

Rollei probably has the most intelligently designed macro system in the world.

At left, orchids in Hawaii with the older 120 Zeiss macro lens, Kodak Gold 100 film (120 size naturally), tripod, f/16 and 1/15th of a second.

Exposure

Unless you are using close-up lenses, when doing any kind of macro work, you always have to consider the effective f-stop. Even if you are using the SLR body's built-in meter, which will correct automatically for light loss, you can't turn off your brain. Why not? Because the effective aperture affects picture quality.

Taking pictures through a pinhole results in tremendous depth of field but very low sharpness due to diffraction. This is why lenses for a 35mm film camera stop at f/22 and don't go to f/45 or f/64. Large format camera lenses provide these smaller apertures for two reasons: (1) the lenses are longer (f/64 on a 210mm lens is not all that small a hole); (2) the negative won't be enlarged very much.

If you're at 1:1 and have selected f/22 on the macro lens barrel, you need to look at the lens markings and/or the close-up exposure dial in the Kodak Professional Photoguide to learn that your effective aperture is f/45.

If you're using a handheld meter, you absolutely must use these corrections (e.g., meter says f/22 but you're focussed down to 1:1 so you set f/11 on the lens barrel).

[Note: Nikon bodies show you the effective aperture in the viewfinder, a really great feature for macro use; Canon EOS cameras do not.]

Lighting

A good quick and dirty lighting technique is to use a through-the-lens (TTL) metered flash with a dedicated extension cord (Nikon SC 29 off-camera flash cord or Canon Off Camera Shoe Cord 2). A modern handheld flash is extremely powerful when used a few inches from a macro subject. That lets you stop down to f/16 and smaller for good depth of field. You can hold the flash to one side of the subject and have an assistant hold a white piece of paper on the other side to serve as a reflector. If you want a softer light, you will have enough power in the flash to use almost any kind of diffusion material. The TTL meter in the camera will turn the flash off when enough light has reached the sensor.

Lighting is the most important and creative part of any kind of photography. We have an entire book chapter on the subject that might be worth reading.

The Samoyed nose at right belongs to Alex, captured with a Canon EOS-5, 180/2.8 macro lens, and TTL-metered Canon flash. Below: a foot recently pulled out of one of those weird sandals with all the bumps. Nikon 8008, 60/2.8 lens, SB-24 lens with SC-17 cord

Let's combine what we've learned until now: the aquarium

Combining everything we've learned up to this point, let's look at a case study: the aquarium. The items inside are pretty close, so you need a macro lens. If you put a rubber lens hood on the front of the lens, then you can mush it up against the glass and avoid reflections. Now you need light. Well, you can just get a flash on an extension cord and point it into the aquarium from just about anywhere.

Here are some examples from the public aquarium in Monterey, taken with a Nikon 8008, 60mm AF macro lens (set for manual focus), SB-24 flash, SC-17 extension cord. I wiped the glass with a handkerchief, asked my friend to hold the flash, and pushed the lens hood up against the glass:

People often write in wondering "How did you manage to get a lawyer in that last frame..."

Focus

With a depth of field of around one millimeter for precise macro work, camera positioning and focus become critical. If you have a good tripod and head, you'll find that you have at least 10 controls to adjust. Each of them will move the camera. None of them will move the camera along the axis that you care about.

That's why people buy macro focusing rails, e.g., Adorama Macro Focusing Rail, (compare prices). These are little rack and pinions capable of moving the entire camera/lens assembly forward and back. You use the tripod to roughly position the camera/lens and then the macro rail to do fine positioning.

The photos below are snapshots from the garden of the Getty Center. They were taken with a fancy Canon EF 180mm f3.5L Macro USM (review), but without a tripod. It was thus impossible to focus precisely or stop down enough to get sufficient depth of field. The results are rather disappointing...

Beyond 1:1 the Canon Way

In the Canon EOS system, going beyond 1:1 is as simple as buying Canon MP-E 65mm f/2.8 1-5X Macro (review). Mount lens on tripod, mount camera on lens, twist ring on lens, release shutter

Beyond 1:1 with Nikon, et al

If you don't have a Canon EOS system and the special 1-5X lens, going beyond 1:1 requires more than buying a lens and turning the focus ring.

First, you can get a bellows (flexible accordion) and/or some extension tubes. These will let you push the lens farther away from the camera body. Extension tubes are rigid and tough; they only let you separate your body and lens in fixed increments. Bellows are delicate but they let you continuously control the lens distance from the body. How much magnification this extra extension will get you depends on the focal length of the lens. If you have a 1000mm lens that already needs its nodal point 1000mm from the sensor plane to focus at infinity, then a 50mm extension tube isn't going to be worth much. However, if you have a 50mm lens, then that same 50mm extension will take you all the way to 1:1.

Second, you probably want a "reversing ring" for your lenses so that you can turn the back element of the lens toward your subject. Why? Think about the normal way you use a lens. You are taking a picture of the Statue of Liberty. The Statue of Liberty is larger than 24x36mm. So you point the front element of the lens at the statue and the back element at the (smaller) sensor. Your lens is designed to work like this, taking the large and compressing it into the small. However, if you are working at 10:1, where the tip of a pine needle is going to take up a big portion of the frame, you want the lens to take the small and expand it into the large. So you want to just flip the lens around.

Third, once you've reversed the lens, you probably want some way to retain the automatic diaphragm. You want the aperture to remain fully open until just before your exposure and then close down to the selected shooting aperture. Rollei medium-format cameras have an all-electric interface between camera and lens, so this is done with clean and reliable electric contacts. Canon EOS would work the same way except that, after more than 15 years, Canon hasn't bothered to manufacture a bellows for the EOS system. An independent company, Novoflex, does make a bellows for Canon EOS, but for most people the Canon MP-E 65mm f/2.8 1-5X Macro (review) is a better choice. Nikon has mechanically stopped-down diaphragms for backward compatibility so they give you a strange dual cable release contraption.

More: John Shaw's Close-ups in Nature .

Nikon D5200

2012-12-11T06:38:00.001-08:00

(Credit: Nikon)

For the D5200, Nikon took the body of the D5100 but significantly updated the inside. That includes a new, higher-resolution CMOS sensor, and the same new autofocus and metering systems that debuted in the D600. Though it's been announced in Europe and is slated to ship there in December, the official word from Nikon US is, "Nikon Corporation announced a new product in select markets worldwide but not in the U.S. at this time." However, the D5100 is over a year old, so I can't imagine that the U.S. announcement for the camera is very far behind. Note that the D7000, an all-around excellent camera, remains widely available for less than $1,000, which may affect the company's pricing and release decisions.

The only notable problem with the D5100 in my view is the performance; the D5200 incorporates a newer version of the Expeed processing engine plus updated autofocus, so I'm hoping that the speed gets a needed boost from that. It also has improved video specs -- not so much in its the ability to do a meh 1080/60i as the desirable 720/60p -- plus a built-in stereo mic. While it adds Nikon's full-time AF for video, it's not as fast or quiet as Canon's STM contrast-AF implementation; on the other hand, it doesn't require a whole new set of expensive lenses.

Here's how it compares to some of its competitors, assuming that it's priced about the same as the D5100:

	Canon EOS Rebel T4i	Nikon D5100	Nikon D5200	Pentax K-30	Sony Alpha SLT-A65V
Sensor effective resolution	18MP hybrid CMOS	16.2MP CMOS	24.1MP CMOS	16.3MP CMOS	24.3MP Exmor HD CMOS
Sensor effective resolution	22.3mm x 14.9mm	23.6mm x 15.6mm	23.5mm x 15.6mm	23.7mm x 15.7mm	23.5mm x 15.6mm
Focal-length multiplier	1.6x	1.5x	1.5x	1.5x	1.5x
Sensitivity range	ISO 100 - ISO 12800/ 25600 (exp)	ISO 100 - ISO 6400/ 25600 (exp)	ISO 100 - ISO 6400/ 25600 (exp)	ISO 100 - ISO 12800/ 25600 (exp)	ISO 100 - ISO 16000
Burst shooting	5fps 6 raw/22 JPEG	4 fps n/a raw/100 JPEG	5fps n/a	6fps 8 raw/30 JPEG	8fps (10fps with fixed exposure) 13 raw/17 JPEG
Viewfinder (mag/ effective mag)	95% coverage 0.85x/ 0.53x	Optical 95% coverage 0.78x/ 0.63x	Optical 95% coverage 0.78x/ 0.63x	Optical 100% coverage 0.92x/ 0.61x	Electronic OLED 0.5 inch/ 2.36 million dots 100% coverage 1.09x/ 0.73x
Autofocus	9-pt AF all cross-type; center cross to f2.8	11-pt AF center cross-type to f5.6 (Multi-CAM 1000)	39-pt AF 9 cross-type (Multi-CAM 4800DX)	11-pt AF 9 cross-type (SAFOX IX+)	15-pt phase-detection 3 cross-type
AF sensitivity	-0.5 to 18 EV	-1 to 19 EV	-1 to 19 EV	-1 to 18 EV	-1 to 18 EV
Shutter speed	1/4,000 to 30 secs; bulb; 1/200 x-sync	1/4,000 to 30 secs; bulb; 1/200 sec x-sync	1/4,000 to 30 secs; bulb; 1/200 sec x-sync	1/6,000 to 30 secs; bulb; 1/180 sec x-sync	1/4,000 to 30 secs; bulb; 1/160 x-sync
Metering	63-zone iFCL	420-pixel 3D color matrix metering II	2016-pixel 3D color matrix metering II	77-segment	1,200-zone
Metering sensitivity	1 to 20 EV	0 to 20 EV	0 to 20 EV	0 to 22 EV	-2 to 17 EV
Video	H.264 QuickTime MOV 1080/30p/ 25p/24p; 720/60p/ 50p	1080/30p/ 24p; 720/30p/ 25p/24p H.264 QuickTime MOV	1080/60i/50i/ 30p/25p/24p; 720/60p/50p/ H.264 QuickTime MOV	H.264 QuickTime MOV 1080/24p/ 25p/30p; 720/ 50p/60p	AVCHD 1080/60p @ 28, 24Mbps, 1080/24p @ 24, 17Mbps, 1080/60i @ 17Mbps
Audio	Stereo; mic input	Mono; mic input	Stereo; mic input	Mono	Stereo; mic input
Manual aperture and shutter in video	Yes	Yes	n/a	n/a	Yes
Maximum best-quality recording time	4GB/12 min	20 min	n/a	4GB/25 minutes	2GB/29 min
IS	Optical	Optical	Optical	Sensor shift	Sensor shift
LCD size	3 inches articulated, touch screen 1.04 MP	3 inches articulated 921K dots	3 inches articulated 921K dots	3 inches fixed 921K dots	3 inches articulated 921K dots
Memory slots	1 x SDXC	1 x SDXC	1 x SDXC	1 x SDXC	1 x SDXC
Wireless flash	Yes	Yes	No	Yes	Yes
Battery life (CIPA rating)	440 shots	660 shots	n/a	480 (lithium ion); 1600 (lithium)	510 shots
Size (WHD, inches)	5.2 x 3.9 x 3.1	5.0 x 3.8 x 3.1	5.1 x 3.9 x 3.1	5.1 x 3.8 x 2.8	5.3 x 3.9 x 3.3
Body operating weight (ounces)	20.8	19.6	19.6 (est)	22.9 (est)	22 (est)
Mfr. price	$849 (body only)	$799.95 (body only)	n/a	$849.95 (body only)	$899.99 (body only)
	$949 (with 18-55mm lens)	$899.95 (with 18-55mm VR lens)	n/a	$899.95 (with 18-55mm lens)	$999.99 (with 18-55mm lens)
	$1,149 (with 18-135mm STM lens)	n/a	n/a	n/a	n/a
Release date	June 2012	April 2011	n/a	July 2012	October 2011

While it sounds like a potentially nice camera, the D5200 doesn't really stand out from the specialized competition: Canon has its video-optimized AF system, Pentax has its weather-resistant bodies, and Sony has its speedy models with built-in geotagging. The D5200 supports wireless, but only through the Wireless Mobile Adapter WU-1a USB dongle. Still, based on the popularity of the D5100, I suspect if Nikon decides to ship the D5200 here it would sell enough to justify its existence.

Ever since Nikon put a 24-million effective pixel sensor in theD3200 we've been expecting this pixel count to reach a little further up the manufacturer's Buying Guide

Best DSLR: top cameras by price and brandSLR line-up. So the announcement that the D5200, which usurps the Nikon D5100 from its position immediately below the D7000 in the range, has a CMOS sensor with 24 million pixels wasn't really a surprise.

However, some may raise an eyebrow when they learn that the D5200 doesn't have exactly the same sensor as the D3200. The D5200 uses a new 24.1-million effective pixel sensor that has not been seen elsewhere and according to Nikon we can expect the new device to have a more extensive dynamic range.

Nikon has paired this sensor with its EXPEED 3 processing engine and in the D5200 this enables a native sensitivity range of ISO 100-6400, which is expandable up to the equivalent of ISO 25,600.

In addition, the D5200 can shoot at a maximum continuous rate of 5fps, up 1fps on the D5100, which could make it just that little bit better for sports photography.

The D5200's sport and action photography credentials are further enhanced by the presence of the same 39-point AF system (with 9-cross type points) as in the D7000. This improved frame coverage should make the autofocus system more precise and better at tracking moving subjects.

Another feature borrowed from the D7000 and which improves upon the D5100 is the 2,016-pixel RGB sensor for light metering and white balance assessment. This feeds information into the improved Automatic Scene Recognition system which attempts to match the exposure settings, autofocus and white balance to the scene.

According to Nikon UK's Simon Iddon, Product Manager for DX Products, the size of the minimum recognisable target for the Automatic Scene Recognition system has been reduced, making it more precise. It's tracking performance has also been improved so that the camera is better able to exposes faces across the frame.

Naturally the D5200 is capable of recording Full HD video footage, like the D5100, but the frame rate range has been expanded to include 60i and 50i as well as 30p, 25p and 24p.

Build and Handling

Most people would be hard pressed to tell the difference between the Nikon D5200 and the D5100 as they look almost identical. Nevertheless, we are told that the D5200 is a little bit smaller and lighter than the older camera.

Any weight or size reduction hasn't been made at the cost of build quality, because the D5200 still feels nicely put together. As we'd expect, it's not a tough feeling as the likes of the Nikon D800 or Nikon D4 in the professional section of the company's SLR line-up, but it feels reasonably solid and built to withstand regular use.

Although D5200 has a nice deep grip with a textured coating that gives it good purchase in the hand, as is often the case with smaller SLRs, most users will find that there is only space for three of their fingers and the little finger must tuck underneath the camera body. It is still comfortable to hold and use one-handed though.

Nikon has stuck with the same 3-inch 921,000-dot variangle LCD as the D5100 has for the D5200. While this is useful for composing images from a wide variety of angles, it's a little disappointing that the company hasn't made it touch-sensitive.

We're also a little surprised to see that Nikon hasn't made any changes to the Special Effects modes available on the D5200 via the mode dial, it's the same seven that are available on the D5100: Night Vision, Color Sketch, Miniature, Selective Colour, Miniature, Silhouette and High and Low Key. These are still JPEG only options for stills photography unfortunately.

We'll have to experiment a little more when we get a full-production sample of the D5200 in for testing, but our first impression is that the new processing engine makes the Live View feed a little smoother than before when these modes are selected.

While the control layout of the D5200 is the same as the D5100, the graphic user interface (GUI) has been updated. This looks more modern and cleaner as well as a little more advanced as befits the enthusiast target audience of the camera.

There are relatively few buttons on the D5200 as most settings adjustments are made via on-screen controls. All that is required is to press the 'I' button to bring up the information screen and then navigate to the feature that you want to adjust, press OK to select it and then make the changes. It's simple and effective.

Performance

So far we have only seen a pre-production sample of the D5200 and we weren't able to examine the images that we took with it. However, we can be fairly certain that the image quality from the D5200 is going to be at least as good as from the D3200 as, even though they have different sensors, the two cameras have (near enough) the same pixel count and the EXPEED 3 processing engine.

This bodes well for the D5200's ability to resolve detail as the D3200 knocks most of the competition out of the park in this respect at the lower sensitivity settings. It also achieves a respectable signal to noise ratio and its dynamic range is impressively high.

Nikon has had a few issues with white balance and colour, with the D800 sometimes making images a little on the green-side and the LCD screen appearing to over-emphasise this colour. We also found that the D3200's screen has a tendency to make images look a little cooler than they are. We are hoping that these problems won't trouble the D5200 as we haven't encountered them with the recently arrived Nikon D600.

WIth 39-AF points instead of just 11, the image frame is well-covered and we found the D5200's AF system very responsive. Naturally, we want to use the camera in a variety of conditions before committing, but the Multi-CAM 4800DX module has proved itself very capable in the D7000 and we see no reason for it to be any different with the D5200.

It's a similar story with the 3D color matrix metering II that uses the dedicated 2,016-pixel RGB sensor. We've seen it before and know that it performs well in most conditions, although the D7000 is sometimes prone to overexposing mid-tones.

Early verdict

Buying Guide

Best Nikon cameras 2012

Provided you are happy not to have an array of buttons and dials allowing quick access to key features, the D5200 looks like a great option for enthusiast photographers looking for a small, versatile camera.

Obviously we have to add the caveat that we haven't actually seen any images from the D5200 yet, but its pedigree and the fact that we have seen the majority of its constituent parts in action elsewhere, leads us to be fairly certain that this camera will be capable of delivering high-quality results.

The fact that the D5200 doesn't introduce anything new apart from the sensor is a bit disappointing. It is a fairly predictable upgrade to the D5100 that borrows features from the D7000 above it in the line-up. It would have been nice if Nikon had added a few new Special Effects, perhaps a high-contrast black and white mode, and made these effects available when shooting raw and JPEG files, rather than just JPEGs.

We'd also have liked Nikon to take the next step with the screen and made it touch-sensitive, allowing the AF point etc to be selected with a touch of a finger.

All things considered, the D5200 seems like a solid proposal, even if it doesn't have anything very new or exciting to offer.

Nikon D800

2012-09-30T02:23:00.000-07:00

Features

Nikon's original technology

Image sensor

Nikon FX-format CMOS sensor with 36.3 effective megapixels

The D800/D800E render levels of texture, nuance and detail to your photography that, until now, have been the exclusive domain of the complicated medium-format system. Define every eyelash, every line in tree bark, and every shimmer of light. Savor the exceptional depth in your still images — with the combination of an astounding 36.3 effective megapixels, the world's highest*, and the outstanding performance of NIKKOR lenses, you can. Enlarge them as big as A1 poster-sized prints (59.4 x 84.1 cm/23.4 x 33.1 in.) at 200 dpi, or crop aggressively to reach the composition you desire, all without sacrificing the detail and tonal range of the original. In order to maintain clean, high-resolution images, 14-bit A/D conversion within the sensor and a high signal-to-noise ratio deliver phenomenal images in a diverse array of situations. The image sensor's incredible potential does not stop with photography, either. For cinematographers ready to put their exceptionally sharp NIKKOR lenses into action, the D800/D800E's 36.3 effective megapixel data is efficiently processed for exquisite 1080p broadcast quality video at 30p.

As of February 7, 2012, among interchangeable lens digital SLR cameras employing an image sensor of 35mm film size.

Standard ISO 100 to ISO 6400, range expandable to ISO 50 to 25600 equivalent

High-resolution, studio-quality images shouldn't be restricted to the studio. The D800/D800E set a new benchmark for high-resolution D-SLR cameras, with crisp clean images across a wide ISO range. Flexibility like this opens up new imaging opportunities for both still photographers and cinematographers alike during the "magic hour", the time just before dawn or at dusk when available light is often beautiful but scarce. Even at high ISO settings, the camera's intelligent noise reduction systems manage noise without sacrificing fine details, giving the D800/D800E the edge. The difference can even be seen in low-contrast subjects such as hair and grass textures, which are often essential elements of cinema as well as high-resolution portraits and landscape images. High image quality at higher ISOs also means that you can shoot still images handheld more confidently, knowing that fast shutter speeds will reduce blur.

A strategic approach to turn light to your advantage

Combining both high-resolution performance and a wide ISO sensitivity range has finally become a reality. Nikon engineers have developed intelligent new methods to manipulate light transmission to the sensor's photodiodes: from the optical low-pass filter and on-chip gapless micro lenses to the image sensor's internal design, every measure has been taken to maximize and improve light transmission in order to deliver crisp, brilliant images with significantly less noise. All this is possible under a wide variety of lighting conditions, enabling you to get the most out of your NIKKOR lenses.

Optical low-pass filter optimized for sharpness on the D800

Reducing false color and moiré is the main job of the optical low-pass filter located in front of the image sensor. However, this benefit is generally gained with a small sacrifice of sharpness. Moiré occurs in scenes containing repetitive details, such as strong vertical lines in architecture. Finding the right balance between benefits and sacrifices is the key to higher image quality, and that is what the D800's optical low-pass filter delivers. As a result, the astounding 36.3 megapixels unleash their potential through an optimized balance between sharpness and effectively prevented moiré and false color. Furthermore, the multi-layer structure of the D800 low-pass filter utilizes layers of antireflective coating that have been optimized for the camera, contributing to sharper and clearer images.

The ultimate attention to detail — the D800E

Nikon engineers have developed a unique alternative for those seeking the ultimate in definition. The D800E incorporates an optical filter with all the anti-aliasing properties removed in order to facilitate the sharpest images possible.

This is an ideal tool for photographers who can control light, distance and their subjects to the degree where they can mitigate the occurrence of moiré. Aside from the optical filter, all functions and features are the same as on the D800.

Note: The D800E carries an increased possibility that moiré and false color will appear, compared to the D800. IR cut and antireflective coating properties of the optical filter remain the same with both versions.

Functions of low-pass filter (OLPF)

The original light and light separated in horizontal direction with the low-pass filter 1 are transmitted through the low-pass filter 2 with the wavelengths unchanged. The original light is transmitted as it is, and light separated with the low-pass filter 1 changes only direction vertically (two points are maintained). By converting polarized light into circularly polarized light with the wave plate, two points are divided into four points.

With the D800, light passing through the lens that is separated in four segments using a low-pass filter is received by the image sensor. Because separation pitch of the low-pass filter is much shorter than that of the image sensor, moiré and false color reduction can be achieved with minimal deterioration of resolution.

By employing the optical glass, the original light and light separated in vertical direction with the low-pass filter 1 is transmitted through the low-pass filter 2 as non-polarized light with the same optical path length. The low-pass filter 2 changes the direction of separated light to the opposite side to revert to the original optical path, and the combined light is transmitted to the image sensor as a single point.

With the D800E, the effects of the low-pass filter is removed, and the light is received by the image sensor at a single point, achieving higher-resolution images with minimal blur.

-Comparison of resolution: D800/D800E have the same resolution of 36.3 megapixels

The D800E reproduces the texture of the stone pavement and twigs with higher resolution than the D800. It allows sharper rendering with depth.

Nikon Integrated Dust Reduction System that includes an Image Sensor Cleaning function

Any dust that reaches the image sensor results in unattractive spots on your images. To prevent this, the D800/D800E employ Nikon's Integrated Dust Reduction System, which includes a self-cleaning sensor unit with four different resonance frequencies to vibrate the optical low-pass filter and shake dust away from the sensor. This function can be set to operate automatically when the camera is turned on or off, or to manual.

EXPEED 3 image-processing engine: speed, versatility, and high performance

High-megapixel still images are detail-rich but data-heavy. With the D800/D800E, however, you don't have to sacrifice speed for this privilege. Dedicated to understanding speed and its role in image making, Nikon engineers designed a powerful EXPEED 3 image-processing engine exclusively for digital SLRs. From image processing and card recording to image playback and image transfer, EXPEED 3 manages massive amounts of data at faster speeds than EXPEED 2. Even with specialized processing features like Active D-Lighting and high ISO noise reduction, capture speed is not affected. EXPEED 3 is so powerful that it handles data-intensive tasks such as Full HD video recording at 30p with ease. You'll also notice the difference in your still images and videos through minimized noise and even richer colors and tones. In addition to these fundamental advantages, the D800/D800E reduce the kind of color phase shift that some cameras have difficulty with in similar situations.

14-bit A/D conversion and 16-bit image processing for rich tones and natural colors

Tonal gradation is where an image transforms from simply representing life to taking on a life of its own. The D800/D800E do exactly that, with cutting-edge image processing that injects vital energy into your images. Black is rendered as pitch black, and shadow details are subtle and rich. Even under harsh, high-contrast light, where some cameras can fail, the D800/D800E's gradation remains smooth with abundant detail and tone all the way up the scale to pure white.

Lateral chromatic aberration reduction: Take full advantage of your NIKKOR lens collection

High-megapixel sensors can really test the quality of your lenses, but you can be confident that the combination of brilliant NIKKOR lenses and Nikon's intelligent processing measures will significantly reduce lateral chromatic aberration to give you incredibly natural-looking results. Unlike other correction methods that simply eliminate chromatic aberration, Nikon's method compensates for these color differences in a resolving index for each color, making it particularly effective in producing images with stunning edge-to-edge sharpness. Moreover, because these corrections are made regardless of the NIKKOR lens used, this feature contributes substantially to achieving the sharpest images possible.

Advanced Scene Recognition System with 91K-pixel RGB sensor

Nikon's revolutionary Advanced Scene Recognition System, introduced with the flagship D4 camera, is also employed in the D800/D800E. At its core is a 91K-pixel RGB sensor that meticulously analyzes each scene with the fine resolution. The RGB sensor can recognize your scene's colors 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 utilized to support more accurate autofocus, 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.

More accurate face detection in auto-area AF and subject tracking in 3D-tracking

Auto-area AF and 3D-tracking are AF-area modes unique to Nikon that use your subject's color and brightness information to detect focus. With the D800/D800E and their more precise information and subject recognition advancements, expect big steps forward for both AF-area modes when taking high-quality still images. In auto-area AF, the camera can genuinely detect human faces and focuses on them immediately — useful when faces are a priority and there's no time to choose focus points. When using 3D-tracking, the sensor's fine resolution combines with a specifically optimized AF algorithm to realize unprecedented subject tracking precision, recognizing detailed patterns to keep your subject in sharp focus.

3D color matrix metering III for more accurate exposures

Professional photographers who shoot still images know that Nikon's metering system delivers supremely well-balanced exposures. Thanks to the 91K-pixel RGB sensor, the D800/D800E have far more detailed scene information at its disposal — including detected face information. This data helps the 3D color matrix metering III deliver more desirable auto exposures, especially when there are human faces present. When the D800/D800E detect a human face in a backlit situation, the camera determines the overall exposure while prioritizing the facial exposure, which might otherwise be underexposed. When a face is lit from the front and appears much brighter than the background, the camera recognizes the situation and avoids blowing out the facial details.

More balanced results in i-TTL balanced fill-flash and Active D-Lighting

Nikon's i-TTL system has long been considered the most accurate flash control system in photography, but now face detection and highlight analysis by the 91K-pixel RGB sensor pushes performance even further. With the D800/D800E's enhanced i-TTL balanced fill-flash, you can more precisely illuminate people's faces in relation to their surrounding brightness using either the built-in flash or an external hot-shoed Nikon Speedlight. For weddings and fashion shoots, or any photography that relies on the highest-quality still images, this new standard redefines what a flash system should be. Face detection also makes a difference when Active D-Lighting is used to retain highlights and shadows in high-contrast lighting situations. Faces will be optimally exposed both in the sun and in the shade.

Light source identification for auto white balance in still images

The D800/D800E's auto white balance is incredibly accurate in a diverse range of shooting situations, aided by unique Nikon technology that effectively identifies your light sources, both natural and artificial. With the 91K-pixel RGB sensor and the image sensor working together, the camera renders white as white with supreme accuracy. Or if you prefer, the auto white balance can be set to reflect the warmth of ambient, incandescent lighting.

Contribution to D-Movie shooting

The D800/D800E's Advanced Scene Recognition System enhances not only still image shooting but also various controls used in movie shooting. It identifies light sources and human faces finely, utilizing the high resolution of the image sensor to deliver accurate auto white balance and exposure control during movie shooting, and improves the precision of subject-tracking AF. Furthermore, it automatically detects flicker effects, and controls the exposure to reduce them.

Direct access to Picture Control that enables quick setting

Customize the look of your stills and videos through Picture Controls by fine-tuning parameters such as sharpening, saturation, and hue. The D800/D800E now allow you to access Picture Control instantly and directly from a dedicated button rather than entering the menu. When live view shooting, you can visually confirm how customized Picture Control settings will look and easily adjust the parameters.

D-Movie shooting functions

Full HD video quality and minimized rolling shutter effect: Dynamic movie shooting in diverse lighting situations

Many filmmakers, multimedia professionals and still photographers need the highly mobile, lightweight and compact form of a D-SLR in order to cover large events or make documentaries, music videos or movies. For these professionals, the D800/D800E are ready to create true cinematic experiences. By using the B frame data compression method, you can record 1080p Full HD video at 30p in H.264/MPEG-4 AVC format with unmatched moving image integrity for up to approx. 29 min. 59 s* of recording in a single clip. Thanks to Nikon's latest image-processing optimizations, the monumental power of 36.3 megapixels transforms to sharp, exquisitely rendered videos. Expect exceptionally smooth gradation in blue skies, with minimum block noise and beautifully natural movement rendered clearly and sharply. The D800/D800E's intelligent image sensor reads out movie images at faster rates than ever, significantly reducing the rolling shutter distortion that can occur during panning shots or when shooting fast-moving lateral subjects like trains. Thanks to EXPEED 3, your movies will take on a distinctive look of their own, even with dimly lit scenes. Combine these benefits and you'll begin to realize exactly the new creative opportunities possible for photographers and cinematographers alike.

Maximum recording time varies according to frame rate, frame size and image quality settings. Maximum recording time for time-lapse photography is 20 min.

Multi-area mode Full HD D-Movie: Creative movie-making freedom in FX- and DX-based formats

The D800/D800E are designed to stimulate cinematographers to explore different moods and perspectives by enabling Full HD and HD video recording in two frame formats; Nikon FX- and DX-based movie formats in just one camera. When using wide-aperture NIKKOR lenses, the large image area of the FX-based format* renders exquisitely shallow depth of field with beautiful bokeh effects. The DX-based format uses an image area similar to 35mm movie film, allowing cinematographers to shoot with picture angles that they are accustomed to. Having the advantage of two D-Movie formats in one camera and an arsenal of NIKKOR lenses makes the D800/D800E an incredibly versatile movie-making tool.

Smoother video recording under fluorescent or mercury lamps: Auto flicker reduction

With the D800/D800E, it is easier than ever to reduce flicker effects during live view and video recording. Simply use auto in the flicker reduction menu to automatically identify the flicker frequency at the beginning of live view and switch to the one that will work best. You can also manually switch between 50 Hz and 60 Hz.

Comprehensive high-fidelity audio recording control

The D800/D800E are designed for crisp stereo recording with a built-in external stereo microphone input. Attach the compact ME-1 Stereo Microphone to record clear sound while significantly reducing mechanical noise. An external headphone jack enables you to effectively monitor and control audio in isolation. While the audio level indicators offer visual confirmation of audio level, the microphone sensitivity can be controlled precisely in 20 incremental steps.

View simultaneous live view output on external monitors and record uncompressed video via HDMI

During movie shooting, you can now simultaneously check videos on an external monitor* using an HDMI connection, in addition to the camera's TFT monitor. And for those who need the purest video output for professional quality editing, you can now record uncompressed movie live view footage directly to an external storage device via HDMI interface.

When video is output through HDMI interface simultaneously with recording to a CF/SD card, output image through HDMI interface will be smaller than 1,280 x 720.

Time-lapse photography

Capture a variety of scenes and subjects at a breathtaking pace. The D800/D800E's time-lapse photography lets you set intervals and frame rates in order to dramatically relay slow-moving activity at dramatic speeds. The D800/D800E allow you to shoot time-lapse photography with replaying rates from 24 times to 36,000 times faster than normal. Time-lapse photography files can be saved as a movie file.

Note: Movie files of time-lapse photography will be saved in 16:9 aspect ratio. It is recommended to confirm image area in movie live view before starting time-lapse photography.

Versatile custom settings for D-Movie

The D800/D800E have addressed useful feedback from videographers with convenient custom controls for D-Movie operation. Instead of rotating the command dial, power aperture enables smoother aperture controls during movie live view using a button designated via custom menu, which can be very convenient to confirm depth of field. Index marking helps you locate important frames for later-stage in-camera editing and replay by attaching markers during movie recording. Markings are indicated along with the progress bar, which is easy to confirm visually.

Movie Specifications superbuy:XME1415

Image size (pixel)/frame rate	Maximum bit rate (high/normal quality)	Maximum recording time
1,920 x 1,080/30p	24 Mbps/12 Mbps	29 min. 59 s
1,920 x 1,080/25p
1,920 x 1,080/24p
1,280 x 720/60p
1,280 x 720/50p
1,280 x 720/30p	12 Mbps/8 Mbps
1,280 x 720/25p	12 Mbps/8 Mbps

Still image shooting functions

Advanced Multi-CAM 3500FX autofocus sensor module for razor-sharp detection in low light

Accurate AF detection is crucial for extremely high-resolution still images in every situation. The 51 sensor points in the D800/D800E’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 crosstype sensors in the center 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 center 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.

Cross-type sensor is limited to the center AF point only. AF may not be achieved in lowcontrast or low-light conditions.

Available focus points according to aperture

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 D800/D800E offer 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 prioritizes their sharpness for you — an ideal choice for candid photography.

Choosing AF mode and AF-area mode combinations

Control your desired AF mode (continuous or single servo) and AF-area mode (single-point, dynamic-area, 3D-tracking or auto-area AF) without ever taking your eye away from the viewfinder. By using a dedicated AF-mode button and command dials, you can switch between modes without interrupting your creative flow.

Glass prism optical viewfinder with approximately 100% frame coverage

See every important element in your frame clearly and precisely. The D800/D800E offer approx. 100% frame coverage (in FX format) from its slim pentaprism, giving you the visually comfortable FX-format advantage and an unobstructed view when shooting still images. The viewfinder image is not only large and bright — the focusing screen is also carefully designed to help you sense sharp focus intuitively, be it manual or autofocus.

High-precision, high-durability shutter

The D800/D800E's shutter unit has been tested to well over 200,000 cycles of release to prove durability and precision. While the shutter unit designed to run at a speed range of 1/8,000 to 30 s, its intelligent self-diagnostic shutter monitor automatically monitors actual shutter speeds in order to correct possible variances that can occur over time.

High-precision sequential control mechanism

For true digital SLR excellence, the camera's mechanical structure, power and precision are vital to ensure indispensable speed and reliability. That's why Nikon utilized its engineering expertise to refine the powerful sequential control mechanism that drives the shutter, mirror, and aperture independently. As a result, shutter release can be operated with mirror-up position during live view. Because mirror-down movement is not required, you can expect even quieter still live view shooting. And as power aperture control operates via the stepping motor, the sound of mechanical adjustment is reduced for quieter and smoother control.

Active D-Lighting that reproduces brightness as you see it

Active D-Lighting preserves details in both highlights and shadowy areas of high-contrast scenes. Color reproduction is improved thanks to the image-processing engine EXPEED 3, and exposure control considering face brightness is achieved by the enhanced face detection performance of Advanced Scene Recognition System.

Expand dynamic range: HDR (High Dynamic Range)

The D800/D800E can shoot two frames in a single shutter release, but at different exposures: one overexposed and one underexposed. The camera then instantly combines them to create an image covering a wider dynamic range. The range can be widened by up to 3 EV for different looks, all full of saturation and tonal gradation, while the smoothness of the edge where the two exposures meet can be adjusted for a more natural appearance.

Note: Tripod use is recommended.

Fast response time

The D800/D800E are designed to respond immediately. Once the strategically located switch is turned on, the camera starts up in approx. 0.12 seconds* and your finger is in position for shutter release. Release time lag is minimized to approx. 0.042 seconds*, equivalent to that of the D3S, with continuous approx. 4 fps capability in FX format, approx. 5 fps in 1.2x and DX format and approx. 6 fps capability in DX format** with MB-D12.

Based on CIPA Guidelines.
When used together with batteries other than EN-EL15.

Shoot achieving reduced blur with zoom lenses in dim light: Auto shutter speed control for auto ISO sensitivity control

The D800/D800E come equipped with an auto option for minimum shutter speed that automatically controls the balance between shutter speed and the ISO sensitivity based on the focal length of the lens being used. This can be particularly useful when using a zoom lens, because the camera can automatically choose the shutter speed to reduce camera shake. What's more, through the operation of ISO button and sub-command dial, auto ISO sensitivity control can be immediately turned on or off, without needing to enter the menu.

Shoot with multiple formats in one camera: Image area options

The D800/D800E offer four image area options: FX format (35.9 x 24.0 mm), 5:4 (30.0 x 24.0 mm), 1.2x (30.0 x 19.9 mm), and DX format (23.4 x 15.6 mm) with all cropped image areas visually masked in the viewfinder. DX format offers approx. 1.5x, and 1.2x crop offers approx.1.2x telephoto effect. When a DX NIKKOR lens is used, DX format is automatically selected.

Get studio quality lighting virtually anywhere

Fast, versatile and portable, with Nikon Speedlights in your hands, your lighting possibilities are endless. The difference is a level of accuracy and flexibility that only the Nikon Creative Lighting System delivers. Its advantages are best experienced via Advanced Wireless Lighting. Using high-precision i-TTL flash control with strategic, intuitive operations, you can make lighting as powerful and comprehensive as your imagination can take it. Whether you shoot in the studio or in far-flung locations, there is a Nikon Speedlight solution to inspire your creativity.

Unparalleled lighting performance — SB-910 Speedlight

Nikon's SB-910 offers versatile i-TTL for on-camera or wireless flash control, a refined operability and a powerful guide number of 34/111.5 (ISO 100, m/ft, STD, FX format with zoom head set at 35mm). The SB-910's menus and controls have been improved for more operational ease. When a hard-type incandescent or fluorescent color filter is attached, the SB-910 detects it and adjusts white balance instantly.

Capture NX 2 (optional): Optimal for processing images taken with the D800/D800E

To accommodate the imaging power of the D800/D800E's 36.3 effective megapixels, the latest Capture NX 2 now features powerful 64-bit processing. Capture NX 2 drastically simplifies an array of image enhancement procedures, letting you concentrate on making your pictures the best they can be. Instead of complicated layering and memorization, simply place a Color Control Point wherever you want to reprocess. Color Control Points use intuitive slider controls to make quick and easy adjustments to image characteristics such as brightness, contrast, saturation and tones. Change, adjust and experiment all you like, safe in the knowledge that all changes are non-destructive and an original always remains intact.

Still images/Movies common features

Precision 8-cm (3.2-in.), approx. 921k-dot, wide-viewing-angle LCD monitor with automatic monitor brightness control

The D800/D800E's large and sharp color LCD monitor delivers bright, crisp image playback with a much larger capacity for accurate color reproduction. Using an antireflective structure, you can count on clarity equal to that of the D4, even under bright conditions. Moreover, if monitor brightness is set to "Auto", the camera automatically adjusts LCD brightness according to the environmental lighting conditions measured by the ambient brightness sensor, allowing easy use of live view in both bright and low-lit places — very useful when shooting video and stills. The ability to magnify playback images up to 46x (Large-size images in FX format) is extremely helpful for spot focus confirmation.

LCD monitor with an integrated structure of glass and panel realizes a clearer image

Contrast-detect AF that enables sharp focusing

During live view and movie recording, contrast-detect AF is available for sharp focusing. Selectable AF servo modes include single-servo AF (AF-S) suitable for still image shooting, and full-time servo AF (AF-F) for movie shooting. Also, from four AF-area modes, you can select the most appropriate mode according to your subject. Contrast-detect AF allows you to focus anywhere within a frame to expand your creative freedom.

AF-area modes

Face-priority AF

Suitable for focusing on a person's face such as for a commemorative photo. Up to 35 faces can be detected. When multiple faces are detected, the camera will focus on that recognized to be the closest. Alternatively, you can choose a different face in the frame with the multi selector.

Wide-area AF

For hand-held shooting of landscape shots. AF area can be moved to the desired position within a frame.

Normal-area AF

Ideal for tripod shooting to achieve a pin-point focus in close-up shots. AF area can be moved to the desired position within a frame.

Subject-tracking AF

Suitable for a moving subject. After focus is locked with the center button of the multi selector, AF area tracks the subject's movement.

Live view selector for optimized still images and movies

The D800/D800E's live view operation has evolved even further, optimizing camera control to become more intuitive for shooting video as well as still images. Simply clicking the live view selector switches between live view modes designed specifically for still images or movies. Live view photography lets you shoot still images while confirming the exposure level on the LCD monitor*. You can even magnify images up to approx. 23x to check the exact focus. For movie live view on the other hand, the D800/D800E incorporate a dedicated exposure control for quality video shooting, enabling smooth exposure transition when shooting moving subjects. You can also shoot video with full manual control. When needed, press the shutter-release button while filming to instantly capture still images in 16:9 aspect ratio. Each time you use live view, for either still photography or movie shooting, your image area and camera setting information will be clearly indicated, allowing you to confirm quickly.

Exposure preview display and resulting image may vary, depending on the settings used.

Accurate confirmation of level shooting: Dual-axis electronic virtual horizon

With the D800/D800E, you can always check the LCD monitor or the viewfinder for both the camera's position in relation to the horizontal plane and its pitch (forward or rear rotation). This can enhance compositional accuracy, particularly when shooting still lifes, landscapes and architecture.

Lightweight yet durable construction

Many important parts of the D800/D800E have been designed to achieve better durability and lighter weight. The result is a camera approx. 10% lighter than the D700, yet just as rugged. A magnesium alloy construction protects the sophisticated technologies against accidental shock, and weather and dust sealing has been extensively applied and severely tested, making the D800/D800E as reliable on the road as it is in the studio.

High-speed CF and SD dual card slots

Card recording speed is yet another crucial element of a smooth and productive shooting experience. The D800/D800E CF memory card slot is compatible with the latest UDMA 7. The SD card slot is compatible with SDXC (Secure Digital eXtended Capacity) and UHS-I. You can also use two cards simultaneously for a number of functions, such as recording JPEG and RAW data on separate cards, recording the same data simultaneously on two cards for backup and more.

Memory card capacity

The following table shows the approximate number of pictures that can be stored an 8 GB Toshiba R95 W80MB/s UHS-I SDHC card at different image quality, image size, and image area settings.

SD memory cards

Image quality	Image size	File size		No. of images		Buffer capacity
Image quality	Image size	FX (36x24)	DX (24x16)	FX (36x24)	DX (24x16)	FX (36x24)	DX (24x16)
NEF (RAW), Lossless compressed, 12-bit	-	32.4 MB	14.9 MB	133	303	21	38
NEF (RAW), Lossless compressed, 14-bit	-	41.3 MB	18.6 MB	103	236	17	29
NEF (RAW), Compressed, 12-bit	-	29.0 MB	13.2 MB	182	411	25	54
NEF (RAW), Compressed, 14-bit	-	35.9 MB	16.2 MB	151	343	20	41
NEF (RAW), Uncompressed, 12-bit	-	57.0 MB	25.0 MB	133	303	18	30
NEF (RAW), Uncompressed, 14-bit	-	74.4 MB	32.5 MB	103	236	16	25
TIFF (RGB)	L M S	108.2 MB 61.5 MB 28.0 MB	46.6 MB 26.8 MB 12.5 MB	71 126 277	165 289 616	16 18 26	21 26 41
JPEG fine	L M S	16.3 MB 10.4 MB 5.2 MB	8.0 MB 5.1 MB 2.7 MB	360 616 1200	796 1200 2300	56 100 100	100 100 100
JPEG normal	L M S	9.1 MB 5.3 MB 2.6 MB	4.1 MB 2.6 MB 1.4 MB	718 1200 2400	1500 2500 4600	100 100 100	100 100 100
JPEG basic	L M S	4.0 MB 2.7 MB 1.4 MB	2.0 MB 1.3 MB 0.7 MB	1400 2400 4800	3000 5000 8900	100 100 100	100 100 100

Includes images taken with non-DX lenses when On is selected for Auto DX crop.
All figures are approximate. File size varies with scene recorded.
Maximum number of exposures that can be stored in memory buffer at ISO 100. Drops if optimal quality is selected for JPEG compression, ISO sensitivity is set to Hi 0.3 or higher, High ISO NR is on when auto ISO sensitivity control is on or ISO sensitivity is set to ISO 1600 or higher, or long exposure noise reduction, Active D-Lighting, or auto distortion control is on.
Figures assume JPEG compression is set to Size priority. Selecting optimal quality increases the file size of JPEG images; number of images and buffer capacity drop accordingly.
Includes images taken with DX lenses when On is selected for Auto DX crop.

Improvements around the shutter-release button

Angle, shape, contour, and texture: all of these design facets came into play when crafting the D800/D800E's shutter-release button. Your index finger can rest comfortably for longer periods of time, allowing you to concentrate when it matters, while the designated movie-record button means you're ready to trigger movie shooting in an instant.

Refined color temperature control: Minute control over white balance

The D800/D800E's white balance proves its reliability even when using an external flash and live view in the studio environment. The monitor hue of live view and resulting image's white balance can be individually set so that the difference between the two is minimized. Furthermore, for even more control, color temperature can be manually set in 10-kelvin increments or in mired units.

High-speed data transfer with USB 3.0

For a more productive tethered and transfer workflow, the D800/D800E are compatible with USB 3.0. When connected to equipment featuring USB 2.0, speed is reduced to that of USB 2.0.

Retouch menu options: In-camera editing

Captured images and movies can be altered and edited in-camera and on the fly if required, all without the need to resort to a computer. Retouch menus include an array of useful features such as NEF (RAW) processing, resize, distortion control, fisheye, miniature effect, red-eye correction, filter effects and image overlay, as well as the ability to designate the start and end point of movie clips all at once, in order to save them more efficiently.

Retouch menus incorporated in the D800/D800E

• D-Lighting • Red-eye correction • Trim (3:2, 4:3, 5:4, 16:9 and 1:1) • Monochrome (Black-and-white, Sepia and Cyanotype) • Filter effects (Skylight, Warm filter, Red/Green/Blue intensifier, Cross screen and Soft)

• Color balance • Image overlay • NEF (RAW) processing • Resize • Quick retouch • Straighten • Distortion control • Fisheye • Color outline • Color sketch • Perspective control • Miniature effect • Selective color • Edit movie (Choose start/end point, Save selected frame)

Efficient power management

A comprehensive re-working of the D800/D800E's circuits now enables approx. 900 shots* of still image shooting. All on one charge of an EN-EL15 Rechargeable Li-ion Battery.

Based on CIPA Standards.

MB-D12 Multi-Power Battery Pack (optional)

Attach the MB-D12 to the camera body to extend battery stamina. The pack accommodates a variety of batteries (see Specifications superbuy:XME1415) and utilizes the same integral magnesium alloy construction and weather sealing as the D800/D800E body itself. You also get approx. 6 fps continuous shooting speed* in DX format. The MB-D12 has its own dedicated shutter-release button and command dials for vertical composition shooting.

When using batteries other than EN-EL15 Rechargeable Li-ion Battery.

Sample figures for the camera and optional MB-D12 Multi-Power Battery Pack are given below. Based on CIPA Standards

Battery	Number of shots
One EN-EL15 Rechargeable Li-ion Battery (camera)	Approx. 900 shots
One EN-EL15 Rechargeable Li-ion Battery (MB-D12)	Approx. 900 shots
One EN-EL18 Rechargeable Li-ion Battery (MB-D12)	Approx. 1,400 shots
Eight R6/AA-size alkaline batteries (MB-D12)	Approx. 1,000 shots

Measured at 23°C/73.4°F (±2°C/3.6°F) with an AF-S NIKKOR 24-120mm f/4G ED VR lens under the following test conditions: lens cycled from infinity to minimum range and one photograph taken at default settings once every 30 s; flash fired once every other shot. Live view not used.

Note: The number of shots that can be taken with fully-charged batteries varies with the condition of the battery, temperature, and how the camera is used. In the case of R6/AA-size alkaline batteries, capacity also varies with make and storage conditions; some batteries can not be used.

The defining strength to match outstanding resolution for stills and videos

To best draw out the full potential that a 36.3 megapixel camera can offer, lens quality is of vital importance. Even subtle differences in optical performance make a difference when utilizing such a large pixel count. NIKKOR empowers photographers and cinematographers in every field, allowing them to better see the essence of their vision and render it as sharp as possible without sacrificing delicate tones or nuance. From f/1.4 primes to fast f/2.8 zooms to f/4 zooms with VR, the latest line of NIKKOR lenses — many loaded with the renowned Nano Crystal Coat — is fully optimized to deliver the image quality the Nikon D800/D800E truly deserve. Moreover, DX lenses can also be used for the D800/D800E: simply attach one and the camera automatically recognizes it and sets the required crop.

ViewNX 2: Browse, edit, share and more

This bundled, all-in-one software implements an easy-to-use interface for all your photos and movies. Take advantage of an array of editing functions, including basic editing of RAW files and even D-Movies. ViewNX 2 also works effortlessly with Nikon's photo-sharing and storage service, my Picturetown, with labels to help you find that special photo quickly and easily.

Camera Control Pro 2 (optional): Extremely versatile remote camera controls

For those that want to operate their camera via computer, Camera Control Pro 2 lets you control camera settings and various features from a distance. Aside from controlling exposure mode, shutter speed, and aperture, the software now offers numerous improvements to make the D800/D800E's live view operation exceptionally smooth. Creative control opportunities include remote start and stop for movie shooting and switching between live view for stills and movies. You can also adjust the monitor hue of live view photography and the resulting image's white balance individually, which can be quite helpful when working in the studio. You can also display audio level indicators during movie shooting. And with the optional WT-4A/B/C/D/E Wireless Transmitter, image files can be transferred using either Wi-Fi or an Ethernet connection.

WT-4A/B/C/D/E Wireless Transmitter

WT-4A/B/C/D/E Wireless Transmitter supports IEEE 802.11a/b/g wireless connections, as well as wired 10BASE-T and 100BASE-TX connections. And it can transmit taken image and movie data from a USB-connected D800/D800E to a computer wirelessly. Thumbnail Selector software supplied with the WT-4A/B/C/D/E allows sending just thumbnail images saved in the built-in memory of the WT-4A/B/C/D/E to a computer of on-site editors. Editors can select images they need from the thumbnail images and transmit the complete data of only their selection to a computer to realize significantly higher efficiency of the workflow. Thumbnail images taken with up to five cameras can be displayed on a computer at one time — especially useful for photographers working as a team.

Specifications superbuy:XME1415

Type
Type	Single-lens reflex digital camera
Lens mount	Nikon F mount (with AF coupling and AF contacts)
Effective pixels
Effective pixels	36.3 million
Image sensor
Image sensor	35.9 x 24.0 mm CMOS sensor (Nikon FX format)
Total pixels	36.8 million
Dust-reduction System	Image sensor cleaning, Image Dust Off reference data (requires optional Capture NX 2 software)
Storage
Imagesize (pixels)	FX (36 x 24) image area: 7,360 x 4,912 (L), 5,520 x 3,680 (M), 3,680 x 2,456 (S)1.2x (30 x 20) image area: 6,144 x 4,080 (L), 4,608 x 3,056 (M), 3,072 x 2,040 (S)DX (24 x 16) image area: 4,800 x 3,200 (L), 3,600 x 2,400 (M), 2,400 x 1,600 (S)5 : 4 (30 x 24) image area: 6,144 x 4,912 (L), 4,608 x 3,680 (M), 3,072 x 2,456 (S)FX-format photographs taken in movie live view: 6,720 x 3,776 (L), 5,040 x 2,832 (M), 3,360 x 1,888 (S)DX-format photographs in movie live view: 4,800 x 2,704 (L), 3,600 x 2,024 (M), 2,400 x 1,352 (S)Note: Photographs taken in movie live view have an aspect ratio of 16 : 9. A DX-based format is used for photographs taken using the DX (24 x 16) 1.5x image area; an FX-based format is used for all other photographs.
File format	NEF (RAW): 12 or 14 bit, lossless compressed, compressed, or uncompressed TIFF (RGB) JPEG: JPEG-Baseline compliant with fine (approx. 1 : 4), normal (approx. 1 : 8), or basic (approx. 1 : 16) compression (Size priority); Optimal quality compression available NEF (RAW)+JPEG: Single photograph recorded in both NEF (RAW) and JPEG formats
Picture Control System	Can be selected from Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture Control can be modified; storage for custom Picture Controls
Media	SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cards; Type I CompactFlash memory cards (UDMA compliant)
Dual card slots	Either card can be used for primary or backup storage or for separate storage of NEF (RAW) and JPEG images; pictures can be copied between cards.
File system	DCF (Design Rule for Camera File System) 2.0, DPOF (Digital Print Order Format), Exif (Exchangeable Image File Format for Digital Still Cameras) 2.3, PictBridge
Viewfinder
Viewfinder	Eye-level pentaprism single-lens reflex viewfinder
Frame coverage	FX (36 x 24): Approx. 100% horizontal and 100% vertical 1.2x (30 x 20): Approx. 97% horizontal and 97% vertical DX (24 x 16): Approx. 97% horizontal and 97% vertical 5:4 (30 x 24): Approx. 97% horizontal and 100% vertical
Magnification	Approx. 0.7 x (50 mm f/1.4 lens at infinity, -1.0 m-1)
Eyepoint	17 mm (-1.0 m-1; from center surface of viewfinder eyepiece lens)
Diopter adjustment	-3 -+1 m-1
Focusing screen	Type B BriteView Clear Matte Mark VIII screen with AF area brackets and framing grid
Reflex mirror	Quick return
Depth-of-field preview	When depth-of-field preview button is pressed, lens aperture is stopped down to value selected by user (A and M modes) or by camera (P and S modes)
Lens aperture	Instant return, electronically controlled
Lens
Compatible lenses	Compatible with AF NIKKOR lenses, including type G and D lenses (some restrictions apply to PC Micro-NIKKOR lenses) and DX lenses (using DX 24 x 16 1.5x image area), AI-P NIKKOR lenses, and non-CPU AI lenses (exposure modes A and M only). IX NIKKOR lenses, lenses for the F3AF, and non-AI lenses can not be used. The electronic rangefinder can be used with lenses that have a maximum aperture of f/5.6 or faster.
Shutter
Type	Electronically-controlled vertical-travel focal-plane shutter
Speed	1/8000 - 30 s in steps of 1/3, 1/2, or 1 EV, bulb, X250
Flash sync speed	X=1/250 s; synchronizes with shutter at 1/320 s or slower (flash range drops at speeds between 1/250 and 1/320 s)
Release
Release mode	Single frame, Continuous low speed, Continuous high speed, Quiet shutter-release, Self-timer, Mirror up
Approximate frameadvance rate	With EN-EL15 batteries - Image area: FX/5 : 4; CL: 1-4 fps, CH: 4 fps - Image area: DX/1.2x; CL: 1-5 fps, CH: 5 fpsOther power sources - Image area: FX/5 : 4; CL: 1-4 fps, CH: 4 fps - Image area: 1.2x; CL: 1-5 fps, CH: 5 fps - Image area: DX; CL: 1-5 fps, CH: 6 fps
Self-timer	2 s, 5 s, 10 s, 20 s; 1-9 exposures at intervals of 0.5, 1, 2, or 3 s
Exposer
Metering	TTL exposure metering using 91K (91,000)-pixel RGB sensor
Metering method	Matrix: 3D color matrix metering III (type G and D lenses); color matrix metering III (other CPU lenses); color matrix metering available with non-CPU lenses if user provides lens data Center-weighted: Weight of 75% given to 12 mm circle in center of frame. Diameter of circle can be changed to 8, 15, or 20 mm, or weighting can be based on average of entire frame (non-CPU lenses use 12-mm circle or average of entire frame) Spot: Meters 4 mm circle (about 1.5% of frame) centered on selected focus point (on center focus point when non-CPU lens is used)
Range (ISO 100, f/1.4 lens, 20 °C/68 °F)	Matrix or center-weighted metering: 0-20 EV Spot metering: 2-20 EV
Exposure meter coupling	Combined CPU and AI
Exposure mode	Programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M)
Exposure compensation	-5 -+5 EV in increments of 1/3, 1/2, or 1 EV
Exposure bracketing	2-9 frames in steps of 1/3, 1/2, 2/3, or 1 EV
Flash bracketing	2-9 frames in steps of 1/3, 1/2, 2/3, or 1 EV
Whitebalance bracketing	2-9 frames in steps of 1, 2, or 3
ADL bracketing	2 frames using selected value for one frame or 3-5 frames using preset values for all frames
Exposure lock	Luminosity locked at detected value with AE-L/AF-L button
ISOsensitivity (Recommended Exposure Index)	ISO 100 - 6400 in steps of 1/3, 1/2, or 1 EV. Can also be set to approx. 0.3, 0.5, 0.7, or 1 EV (ISO 50 equivalent) below ISO 100 or to approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 25600 equivalent) above ISO 6400; auto ISO sensitivity control available
Active D-Lighting	Can be selected from Auto, Extra high, High, Normal, Low, or Off
Focus
Autofocus	Nikon Advanced Multi-CAM 3500FX autofocus sensor module with TTL phase detection, fine-tuning, 51 focus points (including 15 cross-type sensors), and AF-assist illuminator (range approx. 0.5-3 m/1 ft 8 in.-9 ft 10 in.)
Detection range	-2 -+19 EV (ISO 100, 20 °C/68 °F)
Lens servo	Autofocus (AF): Single-servo AF (AF-S); continuous-servo AF (AF-C); predictive focus tracking automatically activated according to subject status Manual focus (M): Electronic rangefinder can be used
Focus point	Can be selected from 51 or 11 focus points
AF-area mode	Single-point AF, 9-, 21-, or 51- point dynamic-area AF, 3D-tracking, auto-area AF
Focus lock	Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button
Flash
Built-in flash	Manual pop-up with button release and a Guide Number of 12/39, 12/39 with manual flash (m/ft, ISO 100, 20 °C/68 °F)
Flash control	TTL: i-TTL flash control using 91K (91,000)-pixel RGB sensor is available with built-in flash and SB-910, SB-900, SB-800, SB-700, SB-600, or SB-400; i-TTL balanced fill-flash for digital SLR is used with matrix and center-weighted metering, standard i-TTL flash for digital SLR with spot metering
Flash mode	Front curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync; Auto FP High-Speed Sync supported
Flash compensation	-3 -+1 EV in increments of 1/3, 1/2, or 1 EV
Flash-ready indicator	Lights when built-in flash or optional flash unit is fully charged; blinks for 3 s after flash is fired at full output
Accessory shoe	ISO 518 hot-shoe with sync and data contacts and safety lock
Nikon Creative Lighting System (CLS)	Advanced Wireless Lighting supported with built-in flash, SB-910, SB-900, SB-800, or SB-700 as a master flash and SB-600 or SB-R200 as remotes, or SU-800 as commander; built-in flash can serve as master flash in commander mode; Auto FP High-Speed Sync and modeling illumination supported with all CLS-compatible flash units except SB-400; Flash Color Information Communication and FV lock supported with all CLS-compatible flash units
Sync terminal	ISO 519 sync terminal with locking thread
White balance
White balance	Auto (2 types), incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade, preset manual (up to 4 values can be stored), choose color temperature (2500 K-10000 K), all with fine-tuning.
Live View
Modes	Live view photography (still images), movie live view (movies)
Lens servo	Autofocus (AF): Single-servo AF (AF-S); full-time servo AF (AF-F) Manual focus (M)
AF-area mode	Face-priority AF, wide-area AF, normal-area AF, subject-tracking AF
Autofocus	Contrast-detect AF anywhere in frame (camera selects focus point automatically when face-priority AF or subject-tracking AF is selected)
Movie
Metering	TTL exposure metering using main image sensor
Frame size (pixels) and frame rate	1,920 x 1,080; 30 p (progressive), 25 p, 24 p1,280 x 720; 60 p, 50 p, 30 p, 25 pActual frame rates for 60 p, 50 p, 30 p, 25 p, and 24 p are 59.94, 50, 29.97, 25, and 23.976 fps respectively; options support both high and normal image quality
File format	MOV
Video compression	H.264/MPEG-4 Advanced Video Coding
Audio recording format	Linear PCM
Audio recording device	Built-in monaural or external stereo microphone; sensitivity adjustable
Movie options	Index marking, time-lapse photography
Monitor
Monitor	8-cm/3.2-in., approx. 921k-dot (VGA) TFT LCD with 170 ° viewing angle, approx. 100% frame coverage, and automatic monitor brightness control using ambient brightness sensor
Playback
Playback	Full-frame and thumbnail (4, 9, or 72 images) playback with playback zoom, movie playback, photo and/or movie slide shows, highlights, histogram display, auto image rotation, and image comment (up to 36 characters)
Interface
USB	SuperSpeed USB (USB 3.0 Micro-B connector)
HDMI output	Type C mini-pin HDMI connector; can be used simultaneously with camera monitor
Audio input	Stereo mini-pin jack (3.5mm diameter)
Audio output	Stereo mini-pin jack (3.5mm diameter)
Ten-pin remote terminal	Can be used to connect optional remote control, GP-1 GPS unit, or GPS device compliant with NMEA0183 version 2.01 or 3.01 (requires optional MC-35 GPS adapter cord and cable with D-sub 9-pin connector)
Supported languages
Supported languages	Arabic, Chinese (Simplified and Traditional), Czech, Danish, Dutch, English, Finnish, French, German, Indonesian, Italian, Japanese, Korean, Norwegian, Polish, Portuguese, Romanian, Russian, Spanish, Swedish, Thai, Turkish, Ukrainian
Power Source
Battery	One rechargeable Li-ion EN-EL15 battery
Battery pack	Optional MB-D12 multi-power battery pack with one rechargeable Nikon EN-EL15 Li-ion battery or eight AA alkaline, Ni-MH, or lithium batteries.
AC adapter	EH-5b AC adapter; requires EP-5B power connector (available separately)
Tripod socket
Tripod socket	1/4 in. (ISO 1222)
Dimensions Weight
Dimensions (W x H x D)	Approx. 146 x 123 x 81.5 mm (5.7 x 4.8 x 3.2 in.)
Weight	Approx. 1,000 g (2 lb 3.3 oz) with battery and SD memory card but without body cap; approx. 900 g/1 lb 15.7 oz (camera body only)
Operating Environment
Temperature	0-40 °C (+32-104 °F)
Humidity	Less than 85% (no condensation)
Supplied accessories
Supplied accessories	EN-EL15 rechargeable Li-ion battery with terminal cover, MH-25 battery charger (AC wall adapter supplied only in countries or regions where required), Strap (AN-DC6 for D800, AN-DC6E for D800E), UC-E14 USB cable, USB cable clip, BF-1B body cap, BS-1 accessory shoe cover, BM-12 monitor cover, ViewNX 2 installer CD

Gallery Images

Nikon Vs Canon

2012-09-26T00:24:00.005-07:00

1. Nikon was exclusively an expensive camera for professionals, and Canon made cameras popular with consumers

2. Nikon made no cameras before WW II. After Nikon's warmongering activities were closed-down after WWII, Nikon had to figure out what to do for peaceful purposes.

3. A good thing about Nikon is that they announce products a couple of months before they become available. Canon, usually has cameras available when they announce them, so you can get caught off guard.

4. Nikon-slew of manual focus lenses.

5. In 1980 Nikon was the undisputed king of pro 35mm cameras. For the same price as Canon was much better mechanical quality and better access to rental gear.

6. Nikon AF cameras couldn't focus fast enough for sports.

7. Nikon's AF speed is as good as Canon today

8. 1999-Nikon became the leader in professional digital.

9. Nikon's D7 the better-built Canon 20D

10. Nikon leapfrogged them with the D200. The D200 eclipsed anything Canon had done, including the Canon 5D which cost three times as much.

11. Nikon D800 which has more resolution than any Canon DSLR.(2012)

12. The biggest reason pros shoot Nikon, or switch from Canon to Nikon, is that Nikon's flash exposure control gets perfect flash exposure every time, while a core incompetency of Canon is that Canon DSLRs rarely get consistently good flash exposure.

13. Most Canons have "C" modes on their control dials.was Easy And good..

14. Smart Reset (two-green-button reset) of Nikon DSLRs was good.

15. Nikon has more flexibility in programming Auto ISO.

16. Great Autofocus in Nikon

17. Locking Flash Shoe in Nikon . It flicks with a lever.

18. Most digital Nikons have magic, selectable viewfinder grids, free!

19. The Nikons have an AUTO CONTRAST mode by default

20. Nikon has annoying little lamps on the camera body. Canon doesn't, and instead fires the flash with an ultra-annoying series of continuous bursts.

21. in-finder data a little bit sparser in Canon than in Nikon.

22. To use the Canon system, have to buy different lenses for each camera.

23. Nikons have a "?" button for explaining most of the menu functions. Canons don't.

24. Shots Remaining-The Canons are stupid and stop at 1999, while Nikons are smart enough to show "2.7k"

25. Canon's JPG file sizes vary to maintain constant quality.

26. Clock Setting-The Nikons let you set the clock to any random second.

27. Depth-of-Field Preview Button-Canon's buttons work instantly and silently and Nikon's buttons are bogus!!

28. Front Lens Caps-Canon's caps are pretty flimsy. Nikon has much, much better and beefier caps.

2012-09-16T05:07:00.003-07:00

Canon EOS 650D

Once our desired settings have been selected, shooting can be done via the screen. A touch-selected AF point executes One-Shot AF then the Touch Shutter release function lets the camera automatically release the shutter to take a picture once your subject is in focus.Simply touch the screen to select and set menu options. For both Live View and Movie shooting, have easy access to Quick Control, adjust functions such as shutter speed, AF point selection, aperture, exposure compensation, and ISO speed. Moreover, you can use the Touch Shutter release function in Live View to shoot photos. For your touch control convenience, choose from standard/sensitive/off options.Pinch your fingers or expand them on the screen to zoom in/out of pictures. To browse images, simply drag or swipe your fingers across the screen. You can also drag two fingers so you can do image jumps. Likewise, scrolling around index displays and even trimming is now possible.Regardless of composition or pattern in subject, expect excellent performance especially as the centre AF point is cross-type sensitive to diagonal lines at f/2.8, and likewise works as a cross-type point at f/5.6 (dual cross-type). This means faster and more precise focusing in any photographic situation, including any dimly-lit environment.

ZaYn Malik....

2012-08-11T04:46:00.000-07:00

The Most Handsome Boy In The World For Me*

One Direction are a British-Irish boy band formed in London in 2010, consisting of members Niall Horan, Zayn Malik, Liam Payne, Harry Styles and Louis Tomlinson. They signed to Simon Cowell's record label Syco Records after being formed and placing third in theseventh series of British television music competition The X Factor. They later signed in North America to Columbia Records.

In November 2011, One Direction released their debut album Up All Night, which became the fastest-selling debut album in the UK of 2011. In 2012, it debuted at number one on the U.S. Billboard 200, making One Direction the first UK group in U.S. chart history to debut at number one with their first album. Up All Night spawned the Official UK Singles Chart top ten singles — "What Makes You Beautiful", "Gotta Be You", and "One Thing". In 2012, "What Makes You Beautiful" won the BRIT Award for Best British Single. One Direction supported the album with their Up All Night Tour. One Direction's second studio album is set for release in late 2012. One Direction'sworld tour is set for 2013, with tickets grossing $15.7 million for their Australian and New Zealand dates.

One Direction have been described as sparking a resurgence in the boy band concept, and of forming part of a new "British Invasion" in the United States. As of June 2012, according to Nick Gatfield, the chairman and chief executive of Sony Music Entertainment UK, One Direction represent a $50 million business empire.^[2] Their work has earned them awards and nominations. One Direction have supported various charities and foundations, and have commercial endorsements with Pokémon, Nokia, HarperCollins and Hasbro. They also appeared as themselves in the iCarly episode "iGo One Direction" (2012).

Solat Witir Selepas Tarawih..

2012-07-24T23:19:00.002-07:00

Salam…(soalan)

Ustaz Love menerima pertanyaan daripada Jiejah Gorjes berkenaan solat Witir :

“ustaz, nak tny la tang 8 rakaat tu mesti buat ngan witir juga ke? sebab dulu masa sy terawih di kg, ada yg buat 8 rakaat dan trus balik.“

Sebelum Ustaz Love menjawab persoalan ni, ingin Ustaz Love jelaskan yg solat Witir ini hukumnya adalah sunat dalam mazhab Syafie.. manakala dalam mazhab Hanafi, hukumnya adalah wajib (wajib di sini bukan bermaksud fardhu, sbb dlm mazhab Hanafi, ada istilah fardhu dan wajib).

Bila dah dikatakan sunat, maka ianya bukanlah wajib.. jadi, tak mesti la kena buat solat Witir selepas solat tarawih.. cuma, ianya adalah sunat yg dituntut (muakkad) untuk melakukannya. Nabi s.a.w. tak pernah meninggalkan solat Witir ini kerana ianya sangat disukai oleh Allah s.w.t.

Cuma, kadang2 kefahaman kita kena dibetulkan.. adakah kita meninggalkan solat witir selepas tarawih itu dengan tujuan untuk melakukannya sebagai penutup qiamullail? Ini kerana, solat Witir itu adalah solat sunat terakhir pada hari tersebut..

Sesetengah orang memahami bahawa solat witir itu sebagai solat penutup.. maknanya lepas tu dah tak bleh solat sunat dah.. ye la.. dah tutup kan? Ini merupakan kefahaman yg silap.. takde istilah tutup buka dalam solat ni..

Sekalipun kita dah solat witir selepas solat tarawih, kita masih lagi boleh solat sunat lain selepas tu (solat hajat ke, tahajjud ke, taubat ke dsb).. Cumanya, solat sunat witir ini dilakukan dengan rakaat yg ganjil (1, 3, 5, 7, 9, 11 dan seterusnya).. maka, jika kita telah melakukan solat witir 3 rakaat (tak kira la satu salam ke, 2 salam ke.. jangan tak salam sudahh), tak perlu la kita melakukannya lagi di akhir solat malam (akhir qiamullail) kerana ia bakal menjadikannya genap.. 3 rakaat selepas tarawih + 3 rakaat selepas tahajjud (contohnya) kan dah genap jadi 6 rakaat tu.. sedangkan witir itu maksudnya ganjil.

Kata la nak sambung tarawih lagi 12 rakaat (sbb nak buat tarawih 20 rakaat), maka boleh berniat tarawih di belakang imam yg solat witir (2 salam).. bila imam dah bagi salam dan nak sambung lagi satu rakaat, maka kita tak sambung pun takpe.. lepas habis tarawih kat rumah nanti, buat witir..

Ataupun solat je witir sekali.. balik rumah, sambung je tarawih lagi 12 rakaat.. lepas tarawih tu, takyah dah nak buat witir.

Dan takde juga masalah kalau kita tak nak buat solat witir selepas tarawih.. sbb kita nak buat masa qiamullail nanti contohnya.. jadi, bleh la makan moreh awal2.. hehe..

Kedua2 kaedah ini ada sandarannya.. Abu Bakr r.anhu melakukan solat witir selepas Isyak kerana takut tak terjaga masa qiamullail.. Sedangkan Umar r.anhu melakukan witir di akhir qiamullail kerana beliau merupakan seorang yg tegas.. nak bangun, mesti akan bangun.

Jadi, nak solat witir selepas tarawih pun boleh, tak nak pun takpe.. yg jadi masalahnya, lepas tarawih pun tak buat, qiamullail pun tak bangun.. maka terlepas la ganjaran solat sunat witir di bulan Ramadhan yg berlipat kali ganda itu..

from:http://ustazlove.com/blog/2011/08/solat-witir-selepas-tarawih/#axzz21c0KWmOz
Read more: http://ustazlove.com/blog/2011/08/solat-witir-selepas-tarawih/#ixzz21c2L4Q1T

Syarat Kemasukan Polis (Inspektor)

2012-07-06T02:01:00.001-07:00

Syarat Kemasukan Polis (Inspektor)
Polis DiRaja Malaysia adalah salah satu perkhidmatan yang terbesar di negara ini. Oleh kerana fungsinya yang berbeza-beza dan unik maka sudah semestinya ia memberi banyak peluang yang tidak boleh didapati dalam perkhidmatan lain. Pelbagai bahagian yang terdapat di dalamnya boleh menawarkan peluang kerjaya yang mencabar dan menyeronokkan. Di samping berpeluang berkhidmat untuk negara, anda juga dapat mencungkil dan mengasah bakat terpendam yang mungkin ada pada diri anda.

INSPEKTOR GRED YA 13

KLASIFIKASI

INSPEKTOR (LELAKI / WANITA)

KUMPULAN PERKHIDMATAN

PENGURUSAN DAN PROFESIONAL

GRED GAJI / JAWATAN

YA 13

JADUAL GAJI

PERINGKAT

GAJI MINIMUM

GAJI MAKSIMUM

KADAR KENAIKAN
GAJI TAHUNAN

RM2,328.12

RM2,479.21

RM2,635.62

RM5,327.53

RM5,579.96

RM5,837.50

RM230.00

SYARAT LANTIKAN

Syarat permohonan bagi jawatan Inspektor adalah mengikut Pekeliling Perkhidmatan Bilangan 25 Tahun 2009 seperti berikut:-

(a)	Terdiri dari warganegara Malaysia;

(b)	Berumur tidak kurang 18 tahun pada tarikh tutup iklan;

(c)	Kelayakan akademik :

	i)	Ijazah Sarjana Muda Kepujian yang diiktiraf oleh kerajaan daripada institusi pengajian tinggi tempatan atau kelayakan yang diiktiraf setaraf dengannya; [ Gaji Permulaan P1 : RM2,328.12 ] ATAU

	ii)	Ijazah Sarjana Muda Undang-Undang yang diiktiraf oleh kerajaan daripada institusi pengajian tinggi tempatan atau kelayakan yang diiktiraf setaraf dengannya; [ Gaji Permulaan P1 : RM2,473.88 ] ATAU

	iii)	Ijazah Sarjana Muda Kejuruteraan dalam bidang-bidang yang diperlukan yang diiktiraf oleh kerajaan daripada institusi- institusi pengajian tinggi tempatan atau kelayakan yang diiktiraf setaraf dengannya; [ Gaji Permulaan P1 : RM2,619.63 ] ATAU

	iv)	Ijazah Doktor Perubatan Veterinar yang diiktiraf oleh kerajaan daripada institusi institusi pengajian tinggi tempatan atau kelayakan yang diiktiraf setaraf dengannya; [ Gaji Permulaan P1 : RM2,765.39 ] ATAU

	v)	Ijazah Sarjana Muda Perakaunan yang diiktiraf oleh kerajaan daripada institusi-institusi pengajian tinggi tempatan atau kelayakan yang diiktiraf setaraf dengannya; [ Gaji Permulaan P1 : RM2,911.15 ] ATAU

	vi)	Ahli Penuh Badan-badan Ikhtisas Perakaunan yang diiktiraf oleh kerajaan; atau [ Gaji Permulaan P1 : RM2,911.15 ] ATAU

	vii)	Ijazah Sarjana Muda Perakaunan yang diiktiraf oleh kerajaan serta menjadi Ahli Penuh Badan-badan Ikhtisas Perakaunan yang diiktiraf oleh kerajaan; [ Gaji Permulaan P1 : RM3,056.91 ] ATAU

	viii)	Ahli Penuh Institut Akauntan Malaysia; [ Gaji Permulaan P1 : RM3,202.67 ] ATAU

	ix)	Ijazah Sarjana Muda Perubatan yang diiktiraf oleh kerajaan daripada institusi-institusi pengajian tinggi tempatan atau kelayakan yang diiktiraf setaraf dengannya; [ Gaji Permulaan P1 : RM3,056.91 ] ATAU

	x)	ijazah sarjana yang diiktiraf oleh kerajaan daripada institusi-institusi pengajian tinggi tempatan atau kelayakan yang diiktiraf setaraf dengannya; [ Gaji Permulaan P1 : RM2,911.15 ] ATAU

	xi)	ijazah doktor falsafah (PhD) dalam bidang forensik, matematik atau perakaunan yang diiktiraf oleh kerajaan daripada institusi-institusi pengajian tinggi tempatan atau kelayakan yang diiktiraf setaraf dengannya. [ Gaji Permulaan P1 : RM3,202.67 ] DAN

	xii)	Kepujian Bahasa Malaysia / Bahasa Melayu (termasuk lulus ujian lisan) pada peringkat Sijil Pelajaran Malaysia atau kelulusan yang diiktiraf setaraf dengannya oleh kerajaan.

(c)	Kelayakan fizikal :

	Pemohon-pemohon hendaklah mempunyai ukuran fizikal dan pancaindera seperti berikut:

	i)	Tinggi sekurang-kurangnya 1.63m (lelaki) dan 1.57m (wanita) tanpa bersepatu.

	ii)	Berat badan sekurang-kurang 50kg (lelaki) dan wanita sekurang-kurangnya 48kg.

	iii)	Ukuran lilitan dada biasa 81cm (normal) dan semasa menarik nafas 86cm (lelaki sahaja).

	iv)	Lulus ujian penglihatan bagi mata kiri dan kanan yang diuji berasingan dengan ketetapan V / 6 / 9 tanpa mengguna alat bantuan.

	v)	Pengecaman warna dan pendengaran yang tidak cacat.

	vi)	Diakui sihat oleh pegawai perubatan kerajaan termasuk pemeriksaan X-Ray.

DESKRIPSI TUGAS

Menjalankan tugas-tugas kepolisan selaras dengan fungsi di Jabatan Pengurusan, Jabatan Siasatan Jenayah, Jabatan Keselamatan Dalam Negeri Dan Ketenteraman Awam, Jabatan Logistik, Jabatan Siasatan Jenayah Narkotik, Cawangan Khas danJabatan Siasatan Jenayah Komersil. Antara tugas-tugas tersebut ialah mentadbir, merancang pencegahan jenayah, menyiasat, menangkap dan mendakwa, mengatur kawalan trafik, mengumpul risikan, menyediakan peralatan dan perhubungan, mengekalkan keselamatan awam di darat, laut dan udara bagi mewujudkan suasana aman dan tenteram di kalangan rakyat dan negara.

BIL.	NAMA JAWATAN	MAKLUMAT JAWATAN
1.	Inspektor Gred YA 13	diatas.
2.	Sarjan Gred YA 5
3.	Konstabel Gred YA 1
4.	Konstabel Sokongan Gred YT 1

Cry Like The Candle...

2012-06-29T02:31:00.003-07:00

“Thousands of candles can be lit from a single candle, and the life of the candle will not be shortened. Happiness never decreases by being shared. (Hindu Prince Gautama Siddharta, the founder of Buddhism, 563-483 B.C.)

Cry Like The CandLe...Stop When Itz Gone.. N Dont Love Someone Like A CandLe..Itz Can Hard.

.Itz Hard To Say But Nice Tu Think..Haha..(By Lina)

Haha...Wat Tu Du Know JusT Loking At The CandLe beBe..U may FeeL..The ReaL FeelinGs...

“We are no more than candles burning in the wind”

AnyWay The Photograph By Me.. :)

Portugal LoSs???

2012-06-28T06:05:00.002-07:00

Hello Guyz...are portugal loss? I can'T La..Itz Hard To SaY..

The game was tied at ZEROZ.. all the way to PENALTY kicks,

when Portugal hit the crossbar and GaVe Spain a window to win it, which they seized.

Upset, the large crowd filed onto the street and smoked cigarettes as they voiced their disgust

and consoled each other over the loss.

Cristiano Ronaldo terrorised the Spanish back line at Estadio da Luz two years ago and

would have claimed one of the finest goals of his career had

Nani not headed his goal-bound shot over the line from an offside position.

The 27-year-old is not short of scores to settle against a team who can

call upon five of his Real Madrid colleagues.

After match-winning performances against the Netherlands and the Czech Republic, he is finally making his mark at a major tournament and Spain's ability to keep him quiet will be pivotal.

U SuppOrT SpaIn..SorrY2..La..Lorh...SpaIn humble IsLaM....So u SuPPorT? Noo WaY..

OvEroL...I AlwayZ SuppoRt PORTUGAL...If Won..If Loss..

The MosT ,,ImpoRtanT..Cristiano Ronaldo Alwayz Rock N Handsome Forever..

GO PORTUGAL!!!

Angry Bird By Me..

2012-06-25T23:22:00.001-07:00

Angry Birds is a strategy puzzle video game developed by Finnish computer game developer Rovio Mobile. Inspired primarily by a sketch of stylized wingless birds, the game was first released for Apple's iOS in December 2009.^[3] Since that time, over 12 million copies of the game have been purchased from Apple's App Store,^[4] which has prompted the company to design versions for other touchscreen-based smartphones, such as those using the Android operating system, among others. The game is also available on HP App Catalog.

In the game, players use a slingshot to launch birds at pigs stationed on or within various structures, with the intent of destroying all the pigs on the playing field. As players advance through the game, new birds appear, some with special abilities that can be activated by the player. Rovio Mobile has supported Angry Birds with numerous free updates that add additional game content, and the company has also released stand-alone holiday and promotional versions of the game.

Angry Birds has been praised for its successful combination of addictive gameplay, comical style, and low price. Its popularity led to versions ofAngry Birds being created for personal computers and gaming consoles, a market for merchandise featuring its characters and even long-term plans for a feature film or television series. With a combined 1 billion downloads across all platforms and including both regular and special editions,^[5] the game has been called "one of the most mainstream games out right now",^[6] "one of the great runaway hits of 2010",^[7] and "the largest mobile app success the world has seen so far".^[8]

Nikon D3100

2012-06-24T05:29:00.002-07:00

Nikon D3100 For Dummies

From Nikon D3100 For Dummies by Julie Adair King

With the D3100, Nikon proves once again that you don't have to give an arm and a leg — or strain your back and neck — to enjoy dSLR photography. This addition to the Nikon family of dSLRs doesn't skimp on power or performance, offering a great set of features to help you take your photography to the next level. To help you get started using your D3100 camera, we've provided a handy reference to your camera's buttons and dials and automatic and advanced exposure modes.

Get to Know the Controls on Your Nikon D3100 Digital Camera

Here's a quick reference guide to the buttons, dials, and other external controls on your D3100. Note that the lens shown is the Nikkor 18–55mm AF-S DX (Vibration Reduction) model sold with the D3100 kit; other lenses may not have the same controls.

A Quick Guide to Automatic Exposure Modes on Your Nikon D3100

For people new to digital SLR cameras, the D3100 offers the following automatic settings that enable point-and-shoot photography. To access modes other than Auto and Auto Flash Off, set the Mode dial to Scene. The monitor then displays a list of the 19 available Scene modes; the ones listed here represent those you'll find handy on the most regular basis.

Advanced Exposure Modes for Your Nikon D3100 Digital Camera

To really take creative control with your Nikon D3100, step up to one of these four exposure modes, which enable you to adjust aperture (f-stop) to manipulate depth of field (the zone of sharp focus) and to adjust shutter speed to determine whether moving objects appear sharply focused or blurry. You also gain access to some features not available in the fully automatic modes, such as the option to adjust flash power and tweak white balance.

Nikon J1

2012-06-24T05:26:00.003-07:00

Nikon employs both phase and contrast detection, because although current phase detection AF systems are faster, contrast detection is generally more accurate.

While the V1 has both an electronic and mechanical shutter (and the user can select which to use), the J1 just has an electronic shutter. Using an electronic shutter enables the continuous shooting rate to be pushed as high as 60fps, with 30fps and 10fps options also being available.

Full HD (1920 x 1080) video recording is possible at 60i, 30p (29.97fps) or 60p (59.94fps). In addition, slow motion video can also be recorded at 640 x 240 at 400fps or 320 x 120 at 1200fps, both of which are played back at 29.97fps.

In Motion Snapshot mode, the camera shoots a snippet of full HD video footage at 69.94fps for replay at 23.976fps (making it around one second long), with accompanying music and ending with a still image. Footage is recorded to the buffer memory from the moment the shutter release button is half-pressed, so the video includes slow-motion action from the point immediately before the shutter release is pressed home.

While Nikon is aiming the J1 at family photographers who are likely to rely on automatic exposure modes, it also has the program, aperture priority, shutter priority and manual (PASM) exposure modes that are preferred by enthusiast photographers.

Samsung Galaxy Note

2012-06-17T01:25:00.002-07:00

The Galaxy Note, with a 135 mm (5.3 in) screen, is sized between smartphones such as the Galaxy S II and the Galaxy Tab tablet. PC World Australia opined that Samsung Galaxy Note is too big to be a true mobile phone, citing the difficulty of using it single-handed.[10] Techradar questions Samsung Galaxy Note's marketability as users cannot store it in a small pocket and that users look ungainly when holding it against their faces while conversing.[11] GigaOM hails it as a pioneer in a new market segment, despite the similar but unsuccessful Dell Streak, combining the best features of both device types.[12] Pocket-lint has remarked that Samsung Galaxy Note shows potential as a games console.[13]

Like most recent smartphones and tablets, the device is constructed in the "slate" format (see Slate phone and Slate tablet). The body is built from plastic with a metallised rim.[14] The front panel isGorilla Glass,[15] a strengthened glass often used for high-end devices such as this.

The front panel houses one physical "home" button (for activating the device and switching to the home screen), two illuminated touch pads ("menu" and "back"), the display, the front-facing camera, andlight and proximity sensors. At the back is a thin plastic snap-on panel with an indent for a fingernail to facilitate removal, for access to the 2500mAh battery, SIM card and SD Card. The back panel houses the speaker and main camera and flash. The metallic rim houses several controls: at the top edge is the 4-pole 3.5mm jack socket for connecting the headset (which incorporates in-canal earphones, FM radio aerial, microphone and volume control) and a pinhole microphone; at the bottom is the industry-standard micro-USB socket for charging and data transfer, another pinhole microphone, and the well for storing the stylus; and the sides house an on-off button and a volume control.

How to Format and Reinstall Windows 7

2012-06-17T01:08:00.000-07:00

The Most Beautiful Eyes In The World

2012-06-15T07:15:00.002-07:00

The story of Prophet Yusuf

2012-06-14T03:48:00.002-07:00

edited on the basis of Sayyed Fadlullah interpretation of the Surah by the same name :

This is another special story that revolves around one of the families of the prophets. It portrays the various kinds of manners and ethical variations… a story that makes you feel pure serenity contradicted by social complexities full of envy, to show that good manners coupled with piety are the most significant virtues one ought to cling to, for in addition to being good in themselves, they offer salvation in this life and in the hereafter as well.

In the Name of God, the Compassionate, the Merciful

A.L.R* We have sent it down as an Arabic Qur'an, in order that ye may learn wisdom * We do relate unto thee the most beautiful of stories, in that We reveal to thee this (portion of the) Qur'an: before this, thou too was among those who knew it not.(12:1-3)

The Sura starts with a clear indication to the level of thought these Quranic verses contain, revealing the right path for people to follow in their conceptions, moves or aims. For this is the role of the Book in clearing through revelation the true picture that Allah wants life to be. And this is what humans must focus on.

Allah, the most Exalted, has sent His Messenger (p.) to a nation that speaks Arabic to be the first pillar for the nation, with all that it believes in, acts upon in its jurisprudence and carries the Call to others. Therefore, clarity is essential for the understanding and grasping of the Message. As a result, The Quran must be revealed in a lucid Arabic tongue. And thus, Allah, the most Exalted, sent down The Quran in Arabic to build for the nation its intellect and thought, in order to convey what Allah wants in matters of public and private life affairs.

This story is very beneficial in that it opens the hearts and minds to Allah’s words. It unveils the blanket of ignorance and opens the soul to knowledge.

Behold! Joseph said to his father: "O my father! I did see eleven stars and the sun and the moon: I saw them prostrate themselves to me!" * Said (the father): "My (dear) little son! Relate not thy vision to thy brothers, lest they concoct a plot against thee: for Satan is to man an avowed enemy* "Thus will thy Lord choose thee and teach thee the interpretation of stories (and events) and perfect His favor to thee and to the posterity of Jacob - even as He perfected it to thy fathers Abraham and Isaac aforetime! For Allah is full of knowledge and wisdom."(12:4-6)

Joseph (a.s.) came to his father, and he was the favorite due to his handsomeness and serenity as well as the purity of his soul. He wanted to tell him his strange vision that caused anxiety being full of divinity, on the one hand, and vagueness on the other. So, he came to his father, whom Allah, the most Exalted, has bestowed prophecy on, to explain to him the secrets of his vision, and consequently have a clearer view of the future through what his vision reveals of issues and events. He also may have thought deep inside that it is a true vision and not a simple dream, and therefore he was trying to unravel its nature. Or, he was simply confused of whether it was a true vision or merely a dream and wanted to know its core as any human in his youthful age.

Thus Joseph (a.s.) told his father: {O my father! I saw eleven stars} from those scattered in heaven, {and the sun and the moon: I saw them prostrate themselves to me!} As people prostrate to someone of great importance to salute, honor and submit to him. What does that mean and how do such great cosmic creatures prostrate for a human like me! And what is my position in all of this…

With his prophetic sense, Jacob sensed his son Joseph’s (a.s.) future and saw in him a great person that will be elevated and distinguished from his people, to reach the level that makes his people feel that they ought to treat him as they treat great kings, since the traditions of those times forced people to pay tribute by prostrating. Jacob also knew that his other children were envious of Joseph (a.s.) because of his beauty, intelligence, purity, serenity and above all his privileged position in his father’s heart, as a result of his distinguishing properties that made him worthy of such a special treatment. He was frightened from his brothers, for the complex they feel against Joseph may drive them to conspire against him, and even get rid of him, if he spoke to them about his vision, and consequently deduced his great future in which they have to submit to him when he reaches his high esteemed position. Jacob wanted to caution Joseph (a.s.) by warning his boy not to tell his brothers about the great future to avoid their schemes.

He told him not to narrate his vision for it suggests your supremacy. They might deduce what I did in that they are the stars that are prostrating for you and conspire against you and try to finish you off in order to stop the future, thinking they can alter Allah’s will. This is how evil souls, filled with illusions and false dreams aggravated by Satan, think of evil and crime. And this is how Satan works through one’s complexes playing on them to lead him astray against the will of Allah, the most Exalted, ruining his life and destiny and eventually ending him in hell. Thus, Joseph (a.s.) started his long journey that Allah, the most Exalted, wanted him to follow so that he would grow spiritually and intellectually, to proceed on the path of the honorable prophets. Joseph (a.s.)’s vision was a good start, as he began to contemplate in this new atmosphere of his dreams as well of those of others. This will let him have a special influence on people, as we shall see later on. What Allah, the most Exalted, has wanted him to inspire from the beginning whether from what he has bestowed upon, or from his inner feelings or his father’s news was that He has favored him and gave him the ability to interpret dreams and know the people’s future through their dreams.

Envious from the special love Jacob had for Joseph , the brothers began to conspire against him

They said: "Truly Joseph and his brother are loved more by our father than we; but we are a goodly body! really our father is obviously wandering (in his mind)!* "Slay ye Joseph or cast him out to some (unknown) land, that so the favor of your father may be given to you alone: (there will be time enough) for you to be righteous after that!" * Said one of them: "Slay not Joseph, but if ye must do something, throw him down to the bottom of the well: he will be picked up by some caravan of travelers."(12:7-10)

Joseph’s brothers tried to perform a crime, and push him to his doom. They were living a life void of spirituality, belief or ethics. Eventually they met hardships that led them to ask for their brother’s help, and be subdued to him… Thus, in the end, Good triumphs over evil, love over hatred... And thus Joseph (a.s.) triumphed in his Message, spirit and devotion to Allah, the most Exalted, no matter how strong and difficult the challenge and the hardships he had to meet were. There is no place for despair or fall when you rely on Allah…

This is what Allah, the most Exalted, intended for us to learn from this story, with its complex human relations between brothers,

The Holy Quran wants to direct people to learn these themes and not to suffice with the technical part of the story and view it from the point of entertainment and intellectual fun only. For this is the way to deduce what is beneficial or harmful in life from others’ experience. Thus, the story begins by showing that the agony of Joseph started early in his life as he had ten brothers from another mother, and one brother from his own mother. Maybe, Jacob had a little special affection to those two due to the special ethical or moral values that they enjoy, as we shall observe as the story progresses, or due to their young age that inspire the fathers to swarm the youngsters with affection. But the elder brothers, generally, do not understand that. They thought that were greater in number and have the power that allows them to correct what they thought was wrong regarding their father’s feelings.

They said, as indicated by Allah, the most Exalted: {really our father is obviously wandering (in his mind)!}

We can deduce that they did not have all the spiritual respect for the personality of the Prophet in their father. Therefore, they did not think that he has no self-complex in his attitude, but rather a mental-spiritual state that is exhibited in all private or public affairs. For the role of the Prophet is to be a model in everything; he represents the message in his life as well as in his words.

An evil plan began to develop in their minds… they should get rid of him in one way or another, for this is the only way they can monopolize their father’s feelings by forgetting Joseph (a.s.) and lean towards them. This is how they discussed the issue.

Let him be lost in the forest, or die in a well or be eaten by wolves, then your father will only find you and will overwhelm you with his affection. This was the dominating idea, and we notice that they did not mention Joseph (a.s.)’s brother nor did they think of getting rid of him too. This might be due for that the big emotional feeling was for Joseph (a.s.) who has the physical and spiritual advantages and not his brother, although, he was of the same mother who was considered responsible for all that affection from their father to Joseph (a.s.). Thus, the devil benefited from their complex psychological state to reach them. First by inspiring the crime, then by telling them that they could always repent for they felt, at that moment, the fear of Allah, the most Exalted...

Some of them may had some affection for their brother but not to the extent of thwarting this evil plot, although it was enough to rule out the idea of death by the hands of his brothers and suggested such a proposition: "Slay not Joseph (a.s.), but if ye must do something, throw him down to the bottom of the well” … that is in the depth of a well that does not drown the one who falls into due to the scarcity of water in it. “He will be picked up by some caravan of travelers” of the many caravans that pass en route. Then, they will discover him when they want to drink, and accordingly take him away and sell him. Consequently, he will be nowhere to be found in a distant country and he will also loose his ability to travel due to slavery. This is the solution that liberates us from Joseph (a.s.) and relieves us from the burden of killing him. So let us start practical planning to achieve our aim, if you are determined to remove Joseph (a.s.) away from his father.

The New 7 Wonders Of The World 2012

2012-06-13T07:07:00.000-07:00

1.The Taj Mahal-Indian Beauty

2.Petra In Jordan

3.Colosseum In The Italian City Of Rome

4.Machu Picchu in Peru

5.Great Wall Of China

6.Chichen Itza in Mexico

7.Christ Redeemer Statue In Rio De Janeiro Brazil

The Cyber Shot Camera From Sony Ericsson

2012-06-07T03:19:00.004-07:00

Sony Ericsson K850i is a cyber shot camera mobile par excellence. The imaging options are outstanding; as a matter of fact, the handset offers tough competitionto multimedia phones from the Nokia N Series - especially the Nokia N95. It comes with an integrated 5.0 mega pixel digital camera and some of the most "in-demand" features in mobile and digital imaging. The high resolution imaging options are just right to shoot the perfect pictures and videos.

Using a DSLR Camera – 5 Tips

2012-05-07T04:26:00.003-07:00

Do you have a DSLR and want the most from your pictures? These tips will help you do just that. With DSLR cameras are increasingly affordable, many people are upgrading their cameras to take advantage of the increased flexibility and performance that these cameras offer. The 5 tips below will help you get the most from your digital SLR camera.

1. Use the hood when taking pictures

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DSLR cameras have interchangeable lenses. Most of these lenses have a matching hood that fits on the front of the lens. The hood blocks light from coming on a corner and causing a reflection on the front lens element. Shooting through this reflection will reduce your sharpness and contrast. Consistent use of your hood, your pictures sharper. It will also help protect the front of the lens damage.

2. Take the camera in automatic mode when necessary

Camera meters are calibrated to achieve good results when you give a picture of an average scene. If the scene is not average, you need to adjust exposure to compensate. If the scene is very bright (like snow), you need the camera to expose a bit more to make things clearer. If the scene is very dark, you need to darken the exposure reduction. If the subject is backlit, you need the exposure so the subject is not underexposed to increase. You can set the exposure using the exposure compensation controls or by switching to manual exposure mode.

3. Using continuous autofocus mode when the subject is moving

DSLR cameras usually have a continuous autofocus mode, which will follow a moving subject and continuously adjust the focus until you press the shutter button to shoot. Make sure you use this mode when photographing things that move. This mode would be perfect for taking pictures of children or pets walking around.

4. Use an external flash, so you can bounce the light from a ceiling or wall

Most DSLR cameras have a built-in flash. Unfortunately, the flash does not deliver very good overall results. The pop-up flash has no power and can not be returned. For natural-looking pictures with a flash, you really need the light from a ceiling or wall to make the light more diffuse bounce. Direct flash would be fine for snapshots, but for more critical work, you must use an external flash with a bounce capability.

5. Set the ISO speed based on the shooting conditions

The ISO speed determines how sensitive the image sensor is light. A higher ISO setting requires less exposure, but increases the noise in the picture. For best results when taking pictures, you should use the lowest ISO setting you can. In taking action or in low-light shots, you may increase the ISO setting accordingly.

If these 5 tips in mind, you will be well on your way to making the most of your DSLR.

Wonderful Taj Mahal..Agra..India

2012-04-29T03:13:00.002-07:00

Taj Mahal is regarded as one of the eight wonders of the world, and some Western historians have noted that its architectural beauty has never been surpassed. The Taj is the most beautiful monument built by the Mughals, the Muslim rulers of India. Taj Mahal is built entirely of white marble. Its stunning architectural beauty is beyond adequate description, particularly at dawn and sunset. The Taj seems to glow in the light of the full moon. On a foggy morning, the visitors experience the Taj as if suspended when viewed from across the Jamuna river.

Taj Mahal was built by a Muslim, Emperor Shah Jahan (died 1666 C.E.) in the memory of his dear wife and queen Mumtaz Mahal at Agra, India. It is an "elegy in marble" or some say an expression of a "dream." Taj Mahal (meaning Crown Palace) is a Mausoleum that houses the grave of queen Mumtaz Mahal at the lower chamber. The grave of Shah Jahan was added to it later. The queen’s real name was Arjumand Banu. In the tradition of the Mughals, important ladies of the royal family were given another name at their marriage or at some other significant event in their lives, and that new name was commonly used by the public. Shah Jahan's real name was Shahab-ud-din, and he was known as Prince Khurram before ascending to the throne in 1628.

Taj Mahal was constructed over a period of twenty-two years, employing twenty thousand workers. It was completed in 1648 C.E. at a cost of 32 Million Rupees. The construction documents show that its master architect was Ustad ‘Isa, the renowned Islamic architect of his time. The documents contain names of those employed and the inventory of construction materials and their origin. Expert craftsmen from Delhi, Qannauj, Lahore, and Multan were employed. In addition, many renowned Muslim craftsmen from Baghdad, Shiraz and Bukhara worked on many specialized tasks.

The Taj stands on a raised, square platform (186 x 186 feet) with its four corners truncated, forming an unequal octagon. The architectural design uses the interlocking arabesque concept, in which each element stands on its own and perfectly integrates with the main structure. It uses the principles of self-replicating geometry and a symmetry of architectural elements.

Its central dome is fifty-eight feet in diameter and rises to a height of 213 feet. It is flanked by four subsidiary domed chambers. The four graceful, slender minarets are 162.5 feet each. The entire mausoleum (inside as well as outside) is decorated with inlaid design of flowers and calligraphy using precious gems such as agate and jasper. The main archways, chiseled with passages from the Holy Qur’an and the bold scroll work of flowery pattern, give a captivating charm to its beauty. The central domed chamber and four adjoining chambers include many walls and panels of Islamic decoration.

The mausoleum is a part of a vast complex comprising of a main gateway, an elaborate garden, a mosque (to the left), a guest house (to the right), and several other palatial buildings. The Taj is at the farthest end of this complex, with the river Jamunabehind it. The large garden contains four reflecting pools dividing it at the center. Each of these four sections is further subdivided into four sections and then each into yet another four sections. Like the Taj, the garden elements serve like Arabesque, standing on their own and also constituting the whole.

PhotoShoot....

2012-04-29T02:56:00.001-07:00

D3200

2012-04-20T08:10:00.000-07:00

Announced: 19-04-2012

The highest performance among entry-class, the brand new Nikon D3200 is a dream come true for entry users. This compact lightweight camera utilizes the newly developed Nikon DX-format CMOS sensor and EXPEED 3 image-processing engine that deliver 24.2 megapixels high image quality and ISO sensitivity range from ISO100 to 6400.
Now, shooting pictures has never been easier. Its enhanced Guide mode can lead you through the process of set-up and shooting various scenarios. There are also six scene modes to assist you so your pictures will always be perfect.

MY SEMPORNA..........

2012-04-16T04:05:00.002-07:00

Semporna delineates sun, sea and sand, the unambiguous combination that never ceases to summon one's vision of a tropical paradise. Coral reef, mangrove forest and tranquil coconut trees tassel the islands. Still undiscovered and undisturbed, this sublime beauty is a rare find in the restructured clutter of the present.

At the heart of Semporna is the small main town, of the same name. Known to some as the town with its feet on the sea, small islands and coral reefs make its surrounding. The air is cool and breezy with a certain tinge of the salty sea. As you take in this unforgettable aroma of the islands, the villages of the sea gypsies, moored a little further out on the reefs, will catch your breath.

Semporna is a district lying on the east coast of Sabah. An hour's flight from Kota Kinabalu will land you in this heaven on earth, stretched just above the equator. Semporna is the literal translation of the Bajau and Malay word 'perfect'. Fulfilling its epithet, the panoramic view it offers united with the emotion that consumed you when you land on this paradise is nothing short of perfection. Captivating the sights from the skies, your eyes will not fail to catch the sylvan fishing villages, coral cays, tranquil seas with sea life in abundance. As the cool fresh air cares your face, gazed wandering further, you will be awestruck by the hues of the water that roll from sapphire.

Semporna is home to the diving paradise of Sipadan known to many who come far and wide. A cluster of about 49 islands holding 119 villages in total, complete Semporna's string of precious pearls. This potent combination of unscathed isles make it a heaven for marine habitat. Some of these islands are uninhibited and are only occasionally visited by the distant boats of fishermen or determined nesting turtles. Enchanting blue and green coral keys and shallow reefs still subsist here.

What is most striking about this place is that it is has not been influenced by the worldly modernizations. The sailboats still sit out at sea. The waters are still as blue and calm as ever. Locals still live on the gifts of mother sea.

SIMBU.................

2012-04-16T02:57:00.000-07:00

Silambarasan Rajendar (born February 3, 1985), also known as T. R. Silambarasan, or Simbu, is an Indian film actor, director, playback singer and lyricist. He began his career by playing minor uncredited roles as a child artist in films produced by his father T. Rajendar,^[1] before essaying his first lead role in Kadhal Azhivathillai (2002), under his father's direction as well. He achieved recogniton for his work in Manmadhan (2004), which was also "ghost-directed" by him ^[2] and became his first major commercial success. He made his full-flegded directorial debut with a failure Vallavan (2006), while he received wide critical praise for his performance in Gautham Menon's blockbuster Vinnaithaandi Varuvaayaa (2010). He also starred in critical success Vaanam and a masala Osthe, both in 2011.