Photographers Lunch Group This Friday!

You're invited to the Charleston Photographer's Lunch Group

A group of fun, friendly professional photographers who meet in the Charleston area for lunch to build connections, help each other grow, and support one another.

When: Friday, March 2, 2012
From: 12:00 p.m. to 1:00 p.m.
At: Butcher & Bee

-All photographers are welcome!!
-Located next to the Charleston Center for Photography
-Manfrotto U.S. Representative, Bill Sanders, will be joining us.
-The Charleston Center for Photography will offer group tours of the facility and studio

About Manfrotto Distribution: The company was originally established as Bogen Photo in the 1950s and is the cornerstone of the international network of Manfrotto Distribution companies in the USA, France, Germany, Italy, Japan, Hong Kong, China and the UK that import, distribute and service accessory products in the photographic, video, broadcast and lighting imaging sectors. The primary mission of Manfrotto Distribution is to import and distribute the brands designed and manufactured by the Imaging & Staging Division of Vitec; Gitzo, Manfrotto, Avenger, Kata and National Geographic as well as top brands of imaging-related products to our extensive Authorized Dealer network.

Registration for the March-April term is ending soon!

Hi everyone, here's the upcoming class and workshop schedule. Classes are filling up and the registration deadline is next week, so please register now!

Class Schedule for March 5 through April 13

Monday

Intro to Digital Photography (F) w/ Kenny McKeithan 11:00 a.m. - 1:30 p.m.

Intro to Digital Photography (E) w/ Kenny McKeithan 3:00 p.m. - 5:30 p.m.

Tuesday

Outdoor Photography w/ Kenny McKeithan 10:00 a.m. - 12:30 p.m.

Lightroom (A) w/ Kenny McKeithan 2:30 p.m. - 4:30 p.m.

Intro to Digital Photography (C) w/ Kenny McKeithan 6:00 p.m. - 8:30 p.m.

Photoshop Elements for Beginners w/ Mahmood Fazal 6:00 p.m. - 8:00 p.m.

Wednesday

Intro to Digital Photography (A) w/ Douglas Cunningham 9:30 a.m. - 12:00 p.m.

Intro to Digital Photography (B) w/ Mahmood Fazal 6:00 p.m. - 8:00 p.m.

Thursday

Intermediate Digital Photo w/ Douglas Cunningham 9:30 a.m. - 12:00 p.m.

Painting with Light w/

Mahmood Fazal 6:00 p.m. - 8:00 p.m.

March Workshops

Intermediate Digital Photography at the Charleston AFB

with Douglas Cunningham

Intro to Digital Photography

with Kenny KcKeithan

Black and White Film Shooters

with Douglas Cunningham

-Hannah

FSTOPPERS Video Results Are In!

WELL DONE EVERYONE!

Fstoppers 2011 Behind The Scenes Contest Winners Announced! from FStoppers on Vimeo.

Historic Charleston Walk About

Hey everyone! This is Hannah, the intern at CCP this semester. I'm pretty sure that I have one of the best internships in Charleston. Saturday morning I went with Stacy and Andy on a "Historic Charleston Photo Walk About" with about twenty people. We walked, chatted, and took photos for about two hours, as we went up Meeting St., over on Tradd, and then circled back to Meeting. I ended up being both a helper and a participant, and had great fun in both respects! Here are some of my photos from the walk about:

- Hannah

Adobe Software On Sale at B&H

Are you a budding videographer? Do you want the best software but not the best software price? If so, you're in luck!* Adobe CS 5.5 Production Premium and Premiere Pro CS 5.5 are hugely discounted at B&H right now, until March 2. See below for links and details.

Adobe Creative Suite 5.5 Production Premium (for Windows) (for Mac)

Original price: $1,699

Sale price: $799

Savings: $900 = 53%

Includes: Premiere Pro CS5.5, After Effects CS5.5, Photoshop CS5 Extended, Audition CS5.5, Flash Catalyst CS5.5, Flash Professional CS5.5, Illustrator CS5.5, Media Encoder & Device Central CS5.5, OnLocation CS5, Encore CS5, Bridge CS5

Adobe Premiere Pro CS5.5 (for Windows) (for Mac)

Original price: $725

Sale price: $525

Savings: $200 = 27.5%

-Hannah

*Unless you're eligible for the Adobe education discount, in which case, like much of the Adobe software, you can get it for even less via their website.

Next Term's Classes are Up!

Have you seen the class and workshop schedule yet? Please see below for details...

Monday
Intro to Digital Photography (F) w/ Kenny McKeithan 11:00 a.m. - 1:30 p.m.
Intro to Digital Photography (E) w/ Kenny McKeithan 3:00 p.m. - 5:30 p.m.

Tuesday
Outdoor Photography w/ Kenny McKeithan 10:00 a.m. - 12:30 p.m.
Lightroom (A) w/ Kenny McKeithan 2:30 p.m. - 4:30 p.m.
Intro to Digital Photography (C) w/ Kenny McKeithan 6:00 p.m. - 8:30 p.m.
Photoshop Elements for Beginners w/ Mahmood Fazal 6:00 p.m. - 8:00 p.m.

Wednesday
Intro to Digital Photography (A) w/ Douglas Cunningham 9:30 a.m. - 12:00 p.m.
Intro to Digital Photography (B) w/ Mahmood Fazal 6:00 p.m. - 8:00 p.m.

Thursday
Intermediate Digital Photo w/ Douglas Cunningham 9:30 a.m. - 12:00 p.m.
Painting with Light w/ Mahmood Fazal 6:00 p.m. - 8:00 p.m.

February Workshops

• Basic Digital Photography
 (Charleston AFB) 
w/ Douglas Cunningham
on, Feb. 14/21



• Ravenel Bridge Photo Walk 
w/ Stacy Pearsall &
 Andy Dunaway, 
Feb. 17



• Historic Charleston
Photo Walk About
 w/ Stacy Pearsall &
Andy Dunaway, Feb. 18



• Canon Small Strobe 
w/ Alice Keeney, Feb. 20



• Intro to Digital Photography
 w/ Kenny McKeithan, Feb. 25

My Three Favorite Things Right Now (for Photographing Landscapes)

This semester, I'm taking a landscape photography class, and there are three items I can't imagine life without when I'm out shooting.

Remote Shutter Release

I have the most basic option from Canon, because for me this isn't something that's about bells and whistles, it's a simple tool that does the important work of minimizing shake by allowing me to take the photo without actually touching my camera. (That said, there's also a more expensive model that has a self-timer, interval timer, long-exposure timer, and exposure-count setting feature, all of which yield many creative possibilities.) It also makes it easier to use liveview for finetuning focus and composition, because I can hold the remote in one hand and control settings with the other (on my camera all of the buttons are on the right).

Gitzo ballhead + Manfrotto tripod

These were both gifts from family members, and I love them. Solid, simple, and small, this combo is a good fit for me. When I use my tripod, it's usually walking around or attached to a backpack, so I couldn't handle anything bulkier or heavier. That said, this tripod's maximum height is only 5' 1". Fine for my 5' 5", but it could be limiting for someone taller or wanting more reach. The head uses two knobs, one which tightens the ball part and another which tightens the rotation of the ballhead itself, making panoramas quick and easy.

The head turns pretty much any which way and tightens down well once I've figured out my composition. The tripod legs use quick-action leg locks and four angle settings, making it easy to set up on any slope or other tricky surface. The 3-faceted center column is awesome, because it makes column rotation a non issue.

What's missing?

There are probably about one hundred other accessories, lenses, or other gear that would useful, but what I'm eyeing right now is some kind of level accessory, like this Flash Hot Shoe Double Bubble Level from Manfrotto. I'm pretty good at eyeballing the horizon for one photo, but getting the tripod totally vertical while setting up to do a panorama can be a challenge.

So, what do you all love to use when you're doing landscape photography?

-Hannah

Fine Art Print Services

Charleston Center for Photography
Print Services

As the photographer, you work hard to create the right shot for your clients. The paper you use for your prints is no place to make compromises. Even in the new digital world of photography, print papers are still as important as ever. Quality is one thing that never goes out of style, and we use only the finest print papers, whether you are ordering color or black & white.

Hahnemühle FineArt Printing is an award winning photographers' paper. Photographers and artists use Hahnemühle FineArt products with a premium inkjet coating for exclusive photography, prints, digital artworks and reproduction of art and photography in a superior gallery and museum standard.

The Charleston Center for Photography's print process, uses Hahnemühle FineArt Paper exclusively. The paper provides an impressive and unique way to combine the precision of digital print media with the wonderful grace of genuine artist papers made in a traditional way. Our prints meet the highest standards of colour range, depth, contrast, rendering and colour gradation. This enables extraordinary print results.

The surface texture is an important feature of any paper, and Hahnemühle's slightly textured surface makes it suitable for a wide range of imagery. I find that the texture helps to increase apparent sharpness and gives the paper a very attractive look and feel. For this reason, photographers from all around the world use our services for exhibitions, clients, personal display and as gifts.

Hahnemühle is slightly more expensive papers compared to other lesser print papers provided by other drug stores. However, for fine-art prints that will stand the test of time, this paper is well worth the investment. These prints will last 100 years or more. Just take a look at the test results.

Our Hahnemühle prints are only 14 cents per square inch. The print results are certainly worth every penny! To submit a print order, simply e-mail your print-ready digital files to Sally@CCforP.org along with your contact information and print size/amount requirements.

If you have old family photos that need restored, we offer scanning and restorations services too. We restore a copy of your old photographs, so they look nearly the way they did when they were first printed. First, we will scan your old print to create a digital file, and then we estimate the cost of removing scratches, imperfections and spots. Our professional staff will also fix color fading and aging blemishes. All quotes based on the extent of image editing needed. For image restoration, the file must be examined in person by one of the editing team.

A New Point-and-Shoot Released!

Sony released a new point-and-shoot camera - the DSC-TX200V

Get your pre-order in right now...

Product Highlights

• 18.2Mp Resolution
• 3.0" Touchscreen LCD
• 26-185mm Carl Zeiss Vario-Tessar Lens
• Waterproof and Dustproof
• 1080/60p HD Video Capture
• 5x Optical Zoom / 10x Clear Image Zoom
• Optical SteadyShot with Active Mode
• 64-12,800 ISO Sensitivity
• Built-In Flash
• Memory Stick Micro, MicroSD/SDHC Slots

The Sony DSC-TX200V Digital Camera is a waterproof, dust proof 18.2Mp point-and-shoot that's both rugged and high-performing. Not afraid of the elements, the TX200V is great for outdoor and indoor adventures alike. At the same time, this high-resolution camera provides excellent image quality and 1080/60p video capture.

Features like a 3.0" touchscreen LCD, 5x optical and 10x clear image zoom, and Optical SteadyShot image stabilization help you make great memories into detailed, beautiful stills and movies. Other features like Hi-Speed AF (autofocus) allow you to capture even fast moving subjects with ease. Additional auto modes take the guesswork out of shooting, while creative modes let you put an artistic spin on your images, in-camera.

The TX200V also sports a built-in flash for capturing even in low-light situations. The "Natural Flash" mode creates lifelike images that utilize a reference shot to correct color in the final photo. Other modes that enhance your photos include the Anti-blink function, Soft Skin mode, and Intelligent Scene Recognition, among others.

Sweet Sale on Suite 6

onOne Software is offering the Perfect Photo Suite 6 full version for $199.95! That's a savings worth $100.00, and well worth every penny I might add! This sale will be available until February 15th.

New Class Schedule: March/April Term

New Class Schedule: March 5 - April 13

-Become a Member and save at CCP today!

-We have a friendly staff of professional photographers and educators. CCP provides instruction in all aspects of modern photography—traditional and digital. Practical lessons and real-life shooting sessions give participants the opportunity to grow their skills by developing their own approaches to the photographic environment.

 Expert instructors teach a balanced and diverse curriculum for students who vary from beginner to intermediate. Courses include classroom instruction, hands-on guidance and shooting assignments in the field. Instructors emphasize group and individual critiques, discussion and interaction.

Monday
Intro to Digital Photography (F) w/ Kenny McKeithan 11:00 a.m. - 1:30 p.m.
Intro to Digital Photography (E) w/ Kenny McKeithan 3:00 p.m. - 5:30 p.m.

Tuesday
Outdoor Photography w/ Kenny McKeithan 10:00 a.m. - 12:30 p.m.
Lightroom (A) w/ Kenny McKeithan 2:30 p.m. - 4:30 p.m.
Intro to Digital Photography (C) w/ Kenny McKeithan 6:00 p.m. - 8:30 p.m.
Photoshop Elements for Beginners w/ Mahmood Fazal 6:00 p.m. - 8:00 p.m.

Wednesday
Intro to Digital Photography (A) w/ Douglas Cunningham 9:30 a.m. - 12:00 p.m.
Intro to Digital Photography (B) w/ Mahmood Fazal 6:00 p.m. - 8:00 p.m.

Thursday
Intermediate Digital Photo w/ Douglas Cunningham 9:30 a.m. - 12:00 p.m.
Painting with Light w/ Mahmood Fazal 6:00 p.m. - 8:00 p.m.

February Workshops

• Basic Digital Photography
 (Charleston AFB) 
w/ Douglas Cunningham
on, Feb. 14/21



• Ravenel Bridge Photo Walk 
w/ Stacy Pearsall &
 Andy Dunaway, 
Feb. 17



• Historic Charleston
Photo Walk About
 w/ Stacy Pearsall &
Andy Dunaway, Feb. 18



• Canon Small Strobe 
w/ Alice Keeney, Feb. 20



• Intro to Digital Photography
 w/ Kenny McKeithan, Feb. 25

The New Nikon D800 Is HERE!

The Nikon D800 SLR Digital Camera is more than a DSLR, it's a broadcast quality video camera as well. Powering both still and video capture is the FX-format CMOS 36.3Mp sensor and the powerful EXPEED 3 image-processing engine. Backing up the heart of the camera you'll find an optical low-pass filter that reduces false color and moire and an ISO range of 100-6400 that's expandable to ISO 50-25600 equivalent. Additionally, the D800 boasts 14-bit A/D conversion and 16-bit image processing. What's more, the camera's Nikon F mount accepts a multitude of NIKKOR lenses, included DX lenses and AF-S lenses; and Nikon Speedlights provide exceptional flash capabilities

The D800's Advanced Scene Recognition System with a 91k-pixel RGB sensor brings out precise, accurate colors in every scene, for natural-looking results. Face detection and a detailed scene analysis support more accurate autofocus, auto exposure, and i-TTL flash exposure for any number of compositional and lighting situations. When combined with auto-area AF and subject tracking in 3D-tracking, your images are even more fine-tuned. In addition, the 3D color matrix metering III feature results in pleasing auto exposures, especially when human faces are in the scene.

The D800 utilizes Nikon's i-TTL system, for the supreme in accuracy and balance. When combined with Nikon's Speedlights, high-quality stills result. Of course, the camera also has a built-in pop-up flash for those spur-of-the-moment snapshots and other casual pics. The D800 also utilizes Nikon's auto white balance which is equipped for a wide range of shooting situations. The Advanced Multi-CAM 3500FX autofocus sensor results in sharp images, even in low-light and the four AF-area modes give you the versatility you need to shoot everything from stills to street scenes to landscapes and more.

When it comes to HD movie capture, the D800 shoots broadcast quality video in two D-Movie formats at 1080/30p full HD. The D800 captures movies in FX and DX movie formats. The FX-based format renders shallow depth of field with beautiful bokeh, while the DX-format uses an image area similar to 35mm movie film, for a look cinematographers are accustomed to. Additional video features include live view operation, the ability to record high-fidelity stereo audio with an external mic, and the option to shoot time-lapse photography and save it as a movie file. Flicker reduction and custom settings enable even more freedom of expression in your movies.

When it comes to viewing your scenes you have a choice of the 100% coverage FX-format optical viewfinder or the 3.2" LCD monitor. The pentaprism viewfinder provides you with a clear and accurate view when shooting stills. And the generous 3.2" 921k-dot wide-viewing-angle LCD gives you features like an anti-reflective structure, brightness control, and the ability to magnify playback images up to 46x. Other notable features of the D800 include a fast response time of 0.12 seconds, high-speed CF and SD dual card slots, high-speed data transfer with a USB 3.0 connection, a high-capacity EN-EL15 rechargeable lithium-ion battery, a precise and durable shutter, and a high-precision sequential control mechanism.

A DSLR though it may be, the D800 comes with a number of creative and intuitive features to keep your shooting both exciting and efficient. Features like direct access to the Picture Control feature and a four-button layout and release mode dial on the camera's top deck make your shooting life easier, while High Dynamic Rang, Dual-axis electronic virtual horizon, and numerous in-camera editing functions ensure that you get the shot you want. The D800 comes with ViewNX 2 software for browsing, editing, sharing and then some of your files. Optional software from Nikon that can be used includes Capture NX 2 and Camera Control Pro 2.

Nikon FX-Format CMOS Sensor with 36.3 Effective Megapixels

The D800 renders 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 astounding 36.3 effective megapixels, you can. Enlarge them as big as A1 poster-sized prints (23.4 x 33.1" /59.4 x 84.1cm) 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's 36.3 effective megapixel data is efficiently processed for exquisite 1080p broadcast quality video at 30p

Standard ISO 100 to ISO 6400 Expandable to ISO 50 to 25,600 Equivalent

High-resolution, studio-quality images shouldn't be restricted to the studio. The D800 sets 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 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

Reducing false color and moire 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. Moire 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

EXPEED 3 Image Processing Engine: Speed, Versatility, and High Performance

High-megapixel still images are detail-rich but data-heavy. With the D800, 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 reduces the kind of color phase shift that some cameras have difficulty with in similar situations

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

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 does 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's gradation remains smooth with abundant detail and tone all the way up the scale to pure white

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. 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 and its 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 has 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 recognizes 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'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'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

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's AF sensor module work down to -2 EV (ISO 100, 68°F/20°C), 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

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 offers four AF-area modes, each specifically tailored to adapt to various subjects. Single point AF is ideal when you need pinpoint focus on stationary subjects. Dynamic-area AF has three options (9-point, 21-point and 51-point) and is ideal for shooting moving subjects. The selected AF point and the surrounding points keep your subject in sharp focus even if it briefly leaves the selected points. 3D-tracking allows you to maintain focus on subjects that are moving erratically from side to side. Auto area AF detects human faces and prioritizes their sharpness for you - an ideal choice for candid photography

36Mp & D-Movie Broadcast Quality Video in Two D-Movie Formats

True Cinematic Experience

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 is 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 29 min. 59 seconds 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'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

Multi-area mode full HD D-Movie: Creative movie-making freedom in FX and DX based formats
The D800 is 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 an incredibly versatile movie-making tool

Smoother video recording under fluorescent or mercury lamps: Auto flicker reduction
With the D800, 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

Integrated Operation

Live view selector for optimized still images and movies
The D800'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 incorporates 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

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

Comprehensive high-fidelity audio recording control
The D800 is 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

Time-lapse photography
Capture a variety of scenes and subjects at a breathtaking pace. The D800's time-lapse photography lets you set intervals and frame rates in order to dramatically relay slow moving activity at dramatic speeds. The D800 allows 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

Versatile custom settings for D-Movie
The D800 has 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 timeline, which is easy to confirm visually

Vision You Can Depend On

Glass prism optical viewfinder with approximately 100% frame coverage
See every important element in your frame clearly and precisely. The D800 offers 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

Precision 3.0" (8cm), 921k-dot, wide-viewing-angle LCD monitor with automatic monitor brightness control
The D800'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

Ready for Demanding Tasks

Lightweight yet durable construction
Many important parts of the D800 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 as reliable on the road as it is in the studio

Fast response time
The D800 is 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 6 fps capability in DX format with MB-D12

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

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 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

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

High-precision, high-durability shutter
The D800'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 seconds, its intelligent self-diagnostic shutter monitor automatically monitors actual shutter speeds in order to correct possible variances that can occur over time

Efficient power management
A comprehensive re-working of the D800's circuits now enables approximately 900 shots of still image shooting. All on one charge of an EN-EL15 rechargeable lithium-ion battery

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) and utilizes the same integral magnesium alloy construction and weather sealing as the D800 body itself. You also get approximately 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

Connecting Hands, Eyes, and Ideas

Improvements around the shutter-release button
Angle, shape, contour, and texture: all of these design facets came into play when crafting the D800'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

Direct access to Picture Control
Customize the look of your stills and videos through Picture Controls by fine-tuning parameters such as sharpening, saturation, and hue. The D800 now allows 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

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

Four-button layout and release mode dial on the camera's top deck
Important camera settings can be controlled and adjusted from buttons placed on the top deck. Along with dedicated buttons for ISO, white balance and image quality, a new bracketing button has been strategically placed to aid such features as HDR. In addition, the release mode dial also improves mode visibility and operability

Creative Expansion Tools

Expand dynamic range: HDR (High Dynamic Range)
The D800 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

Shoot achieving reduced blur with zoom lenses in dim light: Auto shutter speed control for auto ISO sensitivity control
The D800 comes 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

Accurate confirmation of level shooting: Dual-axis electronic virtual horizon
With the D800, 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 life, landscapes, and architecture

Shoot with multiple formats in one camera: Image area options
The D800 offers four image area options: FX format (35.9 x 24.0mm), 5:4 (30.0 x 24.0mm), 1.2x (30.0 x 19.9mm), and DX format (23.4 x 15.6mm) 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

Refined color temperature control: Minute control over white balance
The D800'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

Image enhancement 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

Nikon Software

Capture NX 2 (Optional): Optimal for processing images taken with the D800
To accommodate the imaging power of the D800'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 nondestructive and an original always remains intact

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 remove 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'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 Wireless Transmitter WT-4A/B/C/D/E, image files can be transferred using either Wi-Fi or an Ethernet connection.

Lens Filters by B&H inDepth

Filters for Lenses by B&H inDepth

My lens came with a lens cap, so why do I need a filter?

If you ask most consumer-camera owners why they keep a filter on their lens, a majority will most likely reply, “For protection.” Although filters do, in fact, protect the surface of your lens against dust, moisture and the occasional thumb print, the primary function of lens filters is really to improve the image quality of the pictures you take—depending on the filter you’re using and how you use it—in a variety of obvious and not-so-obvious ways.

Are there a few basic filters or do I need to buy many filters?

The most basic filters are ultra-violet reducing filters (UV), Skylight filters and protection filters, which depending on the manufacturer are either glass filters with basic anti-reflective coatings, or in some cases, merely plainclothes UV filters, which isn’t dishonest. To keep the front element of your lens clean and safe, any of the above will suffice, but if you’re looking to protect your lens and improve the image quality of your stills and video, you’re going to want to purchase a UV or Skylight filter.

UV filters, also referred to as Haze filters, are designed to cut through the effects of atmospheric haze, moisture and other forms of airborne pollutants, each of which contributes to image degradation. UV/Haze filters are available in varying strengths. If you plan on photographing near large bodies of open water, at higher altitudes, in snow or other conditions that magnify the intensity of ambient ultra-violet light, you should definitely consider a stronger level of UV filtration (UV-410, UV-415, UV-420, UV-Haze 2A, UV-Haze 2B, UV-Haze 2C and UV-Haze 2E). Depending on the strength of the UV coatings, UV filters appear clear, or in the case of heavier UV coatings, have a warm, amber-like appearance and require anywhere from zero to about a half stop of exposure compensation.

An alternative to UV/Haze filters are Skylight filters, which are available in a choice of two strengths—Skylight 1A and Skylight 1B. Unlike UV/Haze filters, which have a warm amber appearance, Skylight filters have a magenta tint that is preferable when photographing skin tones or using color slide film, which depending on the film stock often has a blue bias that is typically counterbalanced by the magenta tint of Skylight filters.

Regardless of their strength, skylight filters do not have any effect on the camera exposure, are equal to UV filters in terms of cutting through atmospheric haze and protect your lens against dust, moisture and fingerprints that can all be damaging to lens coatings if not removed in a timely manner.

I’ve found 52mm UV filters for as little as $9.95 and as much as $29.95. What’s the difference and why should one UV filter cost two or three times more than another?

Even though one UV filter might appear indistinguishable from another UV filter costing two or three times as much, the differences between them can be considerable, beginning with the quality of the glass used in the manufacturing process. Though one would suspect there’s little difference between one piece of glass and another, make no mistake about it—there’s glass and there’s glass, and the differences can make a difference in the quality of your images.

The primary criteria of good glass versus so-so glass are the chemical composition of the glass, how it was made and even where it was made. These are followed by the thickness of the glass (the thinner, the better) and the coatings used to minimize flare and maintain optimal color and contrast levels. Although the differences between an inexpensive filter and a pricier filter may not be all that apparent when photographing with a kit zoom lens, they become increasingly obvious when used with costlier, higher-performance lenses.

In the case of color and Polarizing filters, which typically consist of a thin layer of color film (or Polarizing material) sandwiched between two layers of glass, the film is usually bonded to the glass layers in pricier filters. This eliminates air surfaces and other irregularities that can negatively affect the optical purity of the filter when compared to less expensive filters designed to perform the same functions.

The other difference between entry-level filters and the pricier versions has to do with the retaining rings, which in the case of cheaper filters are invariably made of aluminum (a relatively soft metal) that are subject to denting and jamming if they're not screwed on straight. Conversely, the retaining rings used on pricier filters are most always made of brass and as such are less likely to get jammed onto your lens and dent when they strike hard surfaces.

The bottom line is if you go the extra mile (and expense) by purchasing a better lens, you shouldn’t compromise the results of your investments by saving a few dollars on the filter.

What are Kaeseman filters and why are they priced noticeably higher than regular filters?

Kaeseman filters, which are invariably Polarizing filters, are manufactured with more weatherproofing seals than non-Kaeseman filters. They are worthy investments if your photographic interests include traveling to and working in damp, extreme climates.

Aside from UV/Haze and Skylight filters, what other types of filters should I consider for everyday picture-taking?

If you photograph landscapes—or any outdoor scenics for that matter—you should certainly have a Polarizing filter handy at all times. Polarizing filters are best known for making clouds seemingly pop out from darkened blue skies, saturating colors and eliminating glare and reflections from the surfaces of water, glass and other polished surfaces.

Polarizing filters are mounted in a secondary ring that you manually rotate while viewing your subject through the viewfinder until you dial in the desired level of Polarization. The downside of Polarizing filters is that you lose about three stops of light in the process of optimizing the image, but the results cannot be mimicked using Photoshop plug-ins or other forms of post-capture voodoo.

Polarizing filters are also available combined with additional filtration such as warming filtration (81A, 81C, 81EF, 85, 85B), Enhancing and Intensifying, Skylight, UV/Haze and a measure of diffusion.

Polarizing filters are available in two formats: linear and circular. Though they look and perform identically, circular Polarizing filters are designed specifically for use with autofocus lenses while linear are best used with manual-focus lenses. Circular Polarizers, on the other hand, can be used with AF or MF optics with equal results.

What are Neutral Density filters and how would I use them?

Neutral density (ND) filters are essentially gray-toned filters designed to absorb calibrated degrees of light as it passes through the lens. Most commonly broken down in 1/3, 2/3 and full-stop increments, ND filters are more recently also available as variable-density filters that you can infinitely adjust by rotating the filter on its mount as you would a Polarizing filter.

There are many applications for ND filters. Chief among them is their ability to allow you to shoot at wider f-stops under bright lighting conditions. ND filters are used extensively by filmmakers and videographers as tools that allow them better exposure control due to the limited shutter-speed options afforded by the cinema and video process.

ND filters also make it possible to blur the movement of pedestrian traffic and flowing water under bright lighting conditions by allowing you to drop your shutter speeds while maintaining full control of how much or how little depth of field you desire, based on the amount of ND filtration you place in front of the lens.

What’s the difference between Neutral Density and Graduated Neutral Density Filters?

Neutral density filters are even, edge to edge, in their degree of density while graduated neutral density filters are typically clear on one end and slowly build up density toward the opposite side of the filter. Graduated ND filters are most commonly used to even out scenes containing extreme exposure variations on opposite sides of the frame.

Examples of these types of scenarios include landscapes in which the top of a mountain is bathed in sunlight, while the valley below lies in shade; and multi-story atriums where the primary source of illumination is an overhead skylight from which the light gradually falls off as it approaches the lower levels. Graduated filters can also be used in evenly lit areas to darken the sky or foreground for stylistic reasons.

In addition to neutral graduated filters, colored grad filters are also available, and are useful for adding a touch of subliminal color into a scene while darkening the foreground or background.

Should I consider warming and cooling filters?

While warming (adding yellow to the scene) and cooling (adding blue to the scene) can be applied to an image file post capture in Photoshop or other image-editing software, there are still those—including film shooters, who prefer to filter the lens at the time the exposure is made.

Most photographers warm or cool their images for aesthetic or mood reasons. A bit of warming is often desired for portraits, or when photographing at midday during the summer months when the sun's light can be bluer and harsh. Warming can also be effective when taking pictures on overcast or rainy days.

Conversely, cooling filters can be used to correct color in images in which the color temperature is too warm to suit your intentions. Warming filters include all 81 and 85-series filters, and cooling filters include all 80 and 82-series filters.

When using cooling, warming and other color filters with digital cameras, it’s important to set the White Balance to a setting close to the ambient color temperature, i.e. Daylight, Overcast, Tungsten, Fluorescent, etc., and avoid Auto WB, which will intuitively try to correct, according to its own parameters, the mood and tone you’re trying to establish. Auto WB may not render results that are in agreement with your personal vision.

I’ve heard landscape photographers talk about Enhancing and Intensifying filters. What makes them so special?

Enhancing and Intensifying filters are modified to cut some of the orange portion of the color spectrum, which results in higher saturation levels in reds and cleaner, less muddy interpretation of earth tones. They are especially popular for photographing fall foliage and landscapes.

I’ve seen photographers using red, green, yellow, and other color filters. Aside from making everything look red, green, yellow, etc, when should I consider using color filters?

While color filters do make everything look red, yellow, green or whatever color you might place in front of the lens, their most common use is for black-and-white photography.

When shooting black and white, the color of the filter being used blocks that color from reaching the film (or sensor) surface, which depending on the filter color and subject matter, can drastically change its tonal qualities. As an example, shooting through a yellow filter better delineates clouds against blue skies. Orange filters further darken blue skies and make the clouds pop more, and red filters darken blue skies even more and make the clouds pop out most dramatically.

Green filters on the other hand, are effective at improving skin tones in black-and-white portraits.

What are color-correction filters used for?

Color-correction filters, also called cc filters, consist of cyan, magenta, yellow, red, green and blue filters. Each of these is available in 10% increments and is used for modifying or correcting the color balance of mismatched or irregular light sources. The need for cc filters is not as great in these digital days as it was in the time of film. Nevertheless, they are still used by many photographers who would rather correct their images at the time of capture.

As with warming, cooling and other color filters, it’s advisable to avoid the Auto WB setting on your digital camera when using cc filters and instead choose daylight, overcast, tungsten, fluorescent or whatever setting is closest to the ambient lighting conditions under which you’re working.

Are there filters other than the glass screw-on types?

Aside from the glass screw-on filters most photo enthusiasts and pros depend on, there are also polyester, gelatin and resin filters, which are used for both creative as well as technical applications. Usually square or rectangular in form, these filters are most commonly used with filter holders or matte boxes that fit in front of the lens via screw-in or friction mount filter holder adapters. The filters are dropped into place in slots that keep the filters flat and parallel to the front lens surface in order to maintain optimal image quality.

Are polyester, gelatin or resin filters better than glass filters?

It depends on what you mean by "better." If you mean sharper, some of these filters, especially the thinner resin and gelatin filters—depending on the brand and material—are optically purer than glass. They are also lighter to transport, and if you plan on purchasing an entire series of filters, these alternatives will be less expensive than a comparable set of glass filters.

These alternative filters are also handy if you have lenses with differing filter threads. All you need is a single set of step-down rings, starting with the largest thread down to the smallest size, to go along with the filter holder. (These same step-down rings can also be used with screw-in glass filters if you are using lenses with differing filter thread sizes—there’s no need to purchase multiple sets of filters.)

The downside however is that non-glass filters are easily damaged and in the case of gel filters, near impossible to clean when smudged by an errant fingerprint. So if you do go this route, be extra careful when handling them and by all means invest in a box of disposable plastic or cotton gloves.

What are slim filters?

Slim filters have narrow profiles and sometimes lack threads on the forward side of the filter ring. Slim filters, which are available in almost every filter size, are designed for use with lenses featuring angles of view wider than about 74°, or the equivalent of a 28mm lens. By utilizing a thinner retaining ring, the filter is less likely to vignette the corners of the frame. Depending on the make and model, many kit zooms require thin or slim-mount filters.

What other types of filters are there?

There are many types of creative and technical filters available for pros and serious enthusiasts alike. Included among them are filters that produce prism and star-like patterns, filters for close-ups, diffusion, infrared imaging, as well as contrast control. Their creative applications are up to you!

The Takeaway

• UV / Haze and Skylight filters protect the surface of your lens against scratches, dust, moisture and fingerprints, which in the long term can harm the lens coatings. UV / Haze and Skylight filters also minimize atmospheric haze, which results in better overall image quality. Protective filters also keep dust, moisture and fingerprints at bay, but are not as effective in cutting through atmospheric haze.
• The difference between an inexpensive filter and a pricier one has to do with the quality of the glass (the costlier filter most likely contains optically purer and thinner glass), the quality of the anti-reflective and color coatings and retaining ring (better filters have brass rings instead of aluminum).
• Polarizing filters reduce or eliminate distracting reflections from the surface of glass, water and other polished surfaces, darken skies, make clouds pop from their surroundings and saturate color by reducing stray ambient glare.
• Polarizing filters are also available combined with warming filters, enhancing filters and diffusion filters. Weather-resistant Kaeseman Polarizers are also available for use in extreme, damp climates.
• Neutral density (ND)filters block varying degrees of light from striking the imaging sensor (or film) in order to shoot at wider apertures under bright lighting conditions, blur moving objects in the frame regardless of ambient light levels and allow for better exposure control when shooting video or film.
• ND and Color Graduated filters darken or tint the top or bottom (or left and right) portion of the frame while leaving the opposite side untouched. They are useful for equalizing exposures of scenes containing extreme lighting variables on opposing sides of the frame, as well as adding an element of drama to an otherwise good, but not great, image.
• Enhancing and Intensifying filters are useful for intensifying the color-saturation levels of reds and other earth tones, making them desirable for landscape and foliage photography.
• CC filters allow you to incrementally adjust the color levels of your cyan, magenta, yellow, red, green and blue channels.
• Though most photographers rely on conventional glass screw-in filters, lens filters are also available as square and rectangular filters made out of polyester, gelatin and resin. These filters, some of which are optically purer than glass filters, require holders and extra levels of care when handled.
• If you plan on using one filter on several lenses, you should purchase a slim or thin version to better ensure it won’t vignette the corners of the frame when used on a wide-angle lens.

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