The idea came into focus during my most recent trip to Africa where I shot the Nikon 1 V1 almost exclusively. (See a previous post to find out why I shot that camera and the potential benefits it offers).

I love some things about the V1, but the more I used it the more I bumped into things I felt could be improved. In all fairness to Nikon, they designed and market the Nikon 1 system to not-so-serious amateur photographers with the idea that they’d like to move up to something better than a Coolpix but are not ready to be a DSLR photographer. I’m definitely not on the list of intended users Nikon had in mind.

On the other hand, Nikon came up with a number of really sweet technologies for the Nikon 1 system, and the V1 specifically. The CX sensor is a very high density design which can produce outstanding quality in a very practical sized file (10MP). The autofocus is crazy fast. The electronic viewfinder is top shelf. And one of the sweetest features in my mind is the spinoff of the CX sensor size in regards to lens design. The size of your lenses can remain really small because the circle of light required to cover the sensor doesn’t have to be very large. This is the main drawback to the APS-C sized range of mirrorless compact cameras currently being offered. They require lenses as large as you’ll use on your APS-C DSLR because the circle of light to cover the sensor is DSLR sized. When you start carrying around lenses as big as for your DSLR, you quickly start asking, “Why am I not shooting my DSLR instead?” At least that was the deal breaker for me when I experimented with an APS-C mirrorless model.

On safari with the V1 there were periods of downtime, waiting on wildlife or weather, where I let my mind envision the perfect camera I wish I’d had at the time. (This is where Hollywood would key in the wavy out-of-focus transition to indicate leaving reality and entering the dream… LOL)

So much is good about the V1 that I decided I’d be quite content to just repackage a lot of the technology to provide a an interface akin to what I’m used to with a DSLR. “Mini-DSLR” would describe very nicely the transformation of my dream. The things my hands missed using the V1 were:
- the DSLR shape with right hand fingertip grip and rubberized surface
- an EASY on/off switch surrounding the DSLR quality shutter button
- direct access to ISO and shooting modes via external surface buttons
- more efficient use of electricity (the V1 and D800 use the same battery… 10MP vs 36MP… why does the V1 eat the charge so fast?)
- changes to the shutter speed types that allows the hi-speed electronic shutter to behave normally for capture, without shifting into an automatic hybrid mode rendering it all but useless
- an audio recording of a shutter mechanism, timed to reflect the actual rate of image capture in high speed shooting to create a real DSLR-like feel when ripping off a burst of images (it’s weird to shoot a series in silence)
- a simple bracketing mode for easily capturing a series of exposures for HDR

and saving the best for last,

- Nikon 1 specific lenses made to the standard of Nikon professional lenses, very fast (f/1.4 and f/2.8) ED glass and durable metal construction

I got any number of incredibly beautiful images from the V1 during my trip, particularly when I used the FT-1 adaptor to shoot with professional grade lenses. It became clear that if fine glass was placed in front of the CX sensor great things could happen.

During my recent trip to Israel I carried my new D800, the Nikon 14-24mm f/2.8 and 70-200 f/2.8 VR along with the V1. That’s not even close to the kit that most photographers put together for a trip and it still weighed heavily on my shoulder many days. In retrospect, the days when I chose to leave the DSLR and it’s lenses behind, and just shoot with the V1 were delightful. So, I’m hammering the keyboard this morning with another daydream in mind… that this post ends up on a computer monitor in the R&D labs at Nikon Japan and someone says, “Wow, what a great idea. An entirely new niche of Nikon DSLR-like camera aimed at the serious photographer.” Hey, I’m daydreaming here, might as well aim high.

The result of this marriage of ideas would be the cutest little “DSLR” you ever saw and create a user experience something close to what Leica M series photographers can claim. I’d be happy to shell out for a pricepoint higher than the V1 but a bit less than the D7000. And small lenses built to professional standards that are light and cost less? Bring ‘em on.

I stand in line for hours to get my iPhones. Give me this camera and for the first time I’ll queue up in line for a Nikon.

Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.

Israel is a fascinating country with a history deeply intertwined with religion. Regardless of your religious preference, it’s hard not to be spellbound as you walk among landmarks you’ve heard about all your life. Jerusalem is particularly unique in this regard, as passing through one of the Old City gates takes you back centuries on a timeline that touches several of the world’s central religions.

Much of my work is about looking at the world from a perspective that finds beauty or drama. While I have great respect for photojournalism, documentary photography is a genre where I tread infrequently. On this trip, however, many of the times I felt the urge to photograph were driven by a desire to document unlike what I feel when discovering a beautiful landscape or moment in wildlife behavior. Having lived within a Jewish family for over 40 years, I’ve become accustomed to many aspects of Jewish culture but was surprised how moving I found the expression of faith by Jews at the Western “Wailing” Wall. As I learned a bit of the historical background accompanying the massive edifice, prayer at the wall took on even greater significance as did my desire to document it’s practice.

In basic terms this is photographing people, a niche that instantly brings butterflies to the stomachs of many photographers. I know because I count myself among them. Photographing strangers adds a layer of anxiety to the creative process and many photographers deal with this by reaching for a telephoto. I urge you to resist this tendency. Reach instead for your 50mm lens or a wide angle and wake up your feet. If you want great images of people, get closer.

First remove technical hurdles that will increase the discomfort you may feel. Decide in advance the type of image you want to create and set everything on your camera to ensure that as you enter the “zone” all you be thinking about are creative considerations and dynamics of the event. The last thing you want to do is upset the situation in a negative way. If you’re worrying about what ISO you should be shooting you may suddenly feel overwhelmed and look up to find yourself an unwelcome intruder. Engage your subject or situation slowly. At first don’t even shoot. Just hold your camera at your waist and slowly but deliberately circulate close to your subjects. By demonstrating your respect for their activity you say a lot about your intentions. They see the camera and know why you’re there. If you initially refrain from sticking a lens in their face or clanging a motor drive during a solemn moment, you’ll be surprised how taking carefully chosen photos will be accepted. If someone actively discourages you with a scornful glance or more aggressive body language, simply back away and regroup, finding another subject or better tolerated approach. Don’t give up! I’m reminded here of one of my favorite inspirational quotes. “The urge to quit is greatest just before you succeed.”

All these issues were in my mind as I was drawn to the Western Wall. If you can imagine the anxiety you feel taking photos of a stranger at Disney World, consider what I was feeling as I tried to blend into the pious ceremony at one of Judaism’s most revered prayer sites. The amazing thing about focusing your energy as a photographer is that as you shut everything else out, restricting  your consciousness to simply what exists in your viewfinder, that gnawing anxiety in the pit of your stomach also melts away.

You can’t  help but find the clothing of Orthodox Jews striking in it’s contrast to that of the secular world. Stark black predominates and among men large brimmed hats are almost universal. I decided to make these signature characteristics central to a series of images I attempted. Looking for a complex pattern of these shapes juxtaposed against stones of the wall, I found this…

 In trying to create the image above I spent the good part of two hours working from behind people. While on occasion this can work, and is certainly less emotionally challenging, in general I discourage students from photographing from the back because it skirts the issue that motivates them in the first place. The  The strongest people pictures include faces. As I walked away from the wall I was suddenly awestruck by a face before me. Quite literally as my feet kept walking my head turned as I passed this man. I realized I had to try and make a portrait. I respectfully approached him and made a connection. He was collecting religious donations and I explained I would be happy to contribute in exchange for his permission to make a candid portrait. After a moment of deliberation he acquiesced and worked briefly with me, accepting a little guidance as I turned him into the light. What a contrast to the black and white above…

When I photograph strangers, I’m out of my comfort zone. You may be too, but hopefully these examples of what you can create will inspire you to go new places. And they don’t have to be as far as Jerusalem to yield powerful results.

Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.

Here’s the color version…

And a B&W version via Nik’s Silver Efex Pro.

If anyone would like a full resolution jpg for closer evaluation, just email mark@imagema.com.

Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.

Among the big cats, cheetahs have to be near the top of the popularity list. Why? They are beautiful, sleek, and daytime hunters which means you are more likely to see them. It’s not that cheetahs are everywhere. In fact their numbers are slowly declining. It’s that their habitat and lifestyle simply make them more visible. Virtually every visitor to the Masai Mara (the northernmost portion of the Serengeti Plains that extend into the southwestern corner of Kenya) will observe one or more cheetahs during their stay. With a bit of luck you’ll find a mother with cubs so cute they universally elicit wide grins. For those with the patience to follow a cheetah hunting, time can turn from slow motion to heart stopping exhilaration in an instant. Witnessing one or two failed chases also gives you an insight into the life of a predator. It’s not as easy as simply taking a pounce onto one of the plentiful antelopes. Simply feeding themselves is tricky business. Bringing dinner home to growing cubs is a major challenge.

The first part of the hunt is finding game. Since elevation allows their razor sharp eyesight to identify prey at a considerable distance, termite mounds are a popular vantage point. While a termite mound can easily rise 4-5 feet high above the African savannah, there are sporadic view points which are even higher.

During the last century, animals in Africa have become very accustomed to the safari vehicle. Generations have lived with Land Rovers in their environment and learned that neither vehicle nor occupants pose a threat. While some predators, like the reclusive leopard, prefer to avoid the noise and attention accompanying human presence, cheetahs are at the other end of the spectrum. Even heads peering out through sunroofs elicit minimal response from cats that may be only a few feet away. As one guide explained, “You’re simply not on their menu. Unless you corner them and they feel threatened, most would leave you alone.”

Cheetahs take the familiarity with safari vehicles to another level. Somewhere along the way a mother needing to feed her cubs took a chance. Not concerned by the arrival of a safari group, she might have decided if 4-5 feet elevation on a termite mound is good, the view from 7-9 feet on top of a Land Rover roof might even be better. As cubs watched their mother use this odd platform they learned the behavior too. This is not a frequent occurrence by any means. During my three previous trips these stories of unique proximity were only that, safari lore. But in the photographs of others, close encounters with a cheetah looked amazing.

You can easily imagine my excitement when our vehicle came to a halt, the guide raised his binoculars and announced, “There’s a vehicle in the distance with a cheetah on top!” Needless to say we all agreed to put “pedal to the metal” and get close before the situation changed.

About 40 yards away, we had a great profile of the open vehicle, occupants, and cheetah above. I felt we needed to stop and shoot because in the time to make a closer approach the opportunity might vanish.

After a minute everyone had the shot and we decided to move closer for a different perspective. As we moved in the cheetah decided it was done and climbed down, using the rear spare as a ladder. It started to walk away then inexplicably turned and headed back in our direction. As the cheetah approached my immediate thoughts were, “It’s coming close! Grab a wide angle lens!” I looked down onto the back seat and in the middle of changing lenses felt a “bump” as the Land Rover gently shook. I looked up and the cheetah was there, it’s head a foot from my face, looking at me.

Heart pounding like a jack hammer I thought, “Why am I not taking this picture?” It then jumped the rest of the way up onto the pop-up roof. For seconds no one even breathed. We couldn’t believe what just happened. I whispered to the guide, “Can you tell where it is?” He indicated the front of the roof as he saw paws dangle over the edge.

Sensing a once-in-a-lifetime photo inches above my head, I slid over the edge of the sunroof and ever so slowly inched my head up past the pop-up roof to take a look. The cheetah was stretched out, lounging. Her agile tail flicked back and forth, inches from me. I had been quiet, so for 20-30 seconds she didn’t even know I was there. Then she slowly turned her head and found me looking back. She didn’t blink an eye. I suspect I was blinking plenty, but with one eye already in the viewfinder I was in the zone. Suddenly she sat up, turning her head back over her shoulder to look behind us.

Then, as abruptly as it began, it ended. The cat went down the windshield and across the hood, leaving only dusty paw prints in her tracks.

These are the moments you live for on safari. Your days are filled with experiences, and photographs keep them alive. Among the many, there are a select few where light, content, and moment converge to make magic … and  memories that last a lifetime.

Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.

… for the 4th time in 5 years. Before I first visited in 2008, someone told me, “You should realize that Africa gets in your blood and you’ll continually try to figure out how to return.” At the time this sounded like fortune telling and I dismissed it. Yet here I am four trips later, thinking about the next time.

“If you want great photos of a place, visit it more than once.”

As familiarity with wildlife and locales increase year to year the number of images I create decreases but the caliber of the photographs and quality of experience increase. It’s as though once past the rush of, “OMG, there’s a lion standing 10 feet away!”, you’re able to relax and look with more sensitive eyes for moments that get lost in the excitement early on.

This year I visited Tanzania for the first time, finishing in the familiar territory of the Masai Mara in Kenya. Even though much of the wildlife is common to both, the environments and how the animals adapt to the local conditions are different and influence how you find and photograph them.

Another thing different about this trip was the equipment I chose to use. Previously I outfitted myself with flagship DSLRs. This time I decided to experiment with a newcomer to the Nikon line, the Nikon 1 system V1. For those of you unfamiliar with this model, refer to recent blog posts in which I discuss a design which lives somewhere between the Coolpix line and DSLRs. Why would I shoot the V1 in Africa instead of a DSLR?

Despite the opportunity to get REALLY close to wildlife (close as in I had to literally stop a client from reaching out the vehicle window to feel the male lion’s mane as it brushed along the length of the Land Rover!), the majority of safari images are made with long focal lengths. I’ve used Nikon’s 600mm f/4 and 500mm f/4 during the last two years. They are physical challenges to transport and use, but of course yield the perspective you seek: close. The Nikon 1 system introduces a new CX sensor and lens adapter which dramatically extrapolates lens focal length (use of sensors smaller than full frame 35mm film size crop the image delivered into the camera). In short, any lens you use behaves like a longer lens. For many DSLRs the conversion factor is about 1.5x, so a 200mm lens “sees” what a 300mm lens would see. The Nikon 1 CX sensor, however, is smaller than the sensors used in DSLRs and therefore has a larger conversion factor: 2.7x. The 200mm lens “sees” the angle of view that a 540mm lens would produce. The implications here become significant quickly if you allow your mind to wander down the path…

Typical photo safari focal lengths are in the 200-500mm range. Professionals will often endure the hardships associated with a 600mm lens for the additional reach it provides. While use of a teleconverter (a magnifying lens element adapter that attaches between camera body and lens) can increase focal length even more, it does so at a cost: diminished sharpness and loss of usable light. Here is where the V1 CX sensor provides an opportunity. When used with a lens it provides an increase in effective focal length like a teleconverter but without any decrease in sharpness or loss of light. Yes, the smaller size of the CX sensor does have resolution limitations exceeded by the larger DSLR sensors, but as you will see this is not a crippling handicap as some might believe. In fact the pixel density of the CX sensor is remarkable (if the CX technology were used to manufacture a full frame sensor, the result would be a 73MP capture) and capable of producing stunning imagery. The key is the glass you place in front of the V1. Use exceptional lenses and the results can be exceptional.

With this in mind, I decided to shoot with the finest Nikon super-telephoto and see what the combination produced. Among the exotic super-telephoto lenses, the 400mm f/2.8 lens is legendary. As is often the case with examples of rarified greatness, it is a mix of unexpected characteristics. While shorter than the 500mm and 600mm lenses in both focal length and physical size, it weighs more. This is due to the enormous diameter of the front lens elements which grant it the light collecting capability to be an f/2.8 lens. It’s really huge up front, dwarfing anything you’ve ever used. But the quality of the design and glass are magical. When placed on the V1 (using the FT-1 adapter), the 2.7x conversion meant I would be shooting a 1080mm f/2.8 lens with the reputation of being one of the finest lenses in the world. Needless to say I found the prospect pretty exciting.

The quandary was shoot with the V1 or one of two D7000 DSLR bodies available? I didn’t know what the answer would be even as we drove into the field on day one. It was only as I began to see the images unfold, taken with a longer telephoto perspective than ever before, that I found myself repeatedly reaching for the V1 leaving the DSLR bodies unused.

Less you think that I shot the entire trip with the 400 mm f/2.8, I did not. I wanted more flexibility than a single focal length would provide. When wildlife moves close (or is itself huge) you must have shorter focal lengths available. I also had a Nikon 300mm f/2.8 and the workhorse Nikon 70-200mm f/2.8. These lenses rendered 810mm and 190-540mm focal lengths, respectively. When I wanted wider I would reach for the kit Nikon 1 system lenses, the 10-30mm (27-81mm equivalent) and 30-110mm (81-297mm equivalent). I only wish that my arsenal had included multiple V1 bodies so each lens could have had its own. It’s funny that I’ve written as though the lens is the dominant hardware, but that’s no accident. When you shoot these combinations it is very much a David and Goliath scenario with the lens overwhelming the camera in size and weight.

Here are a few favorite selects that underscore what the V1 can do…

Sunrise is one of the most potentially dramatic moments of the day. Potentially because the weather can make or break you and change in minutes. This day, toward the end of our trip, we were very lucky. A herd of elephants was grazing on the ridge line. This is the 400mm f/2.8 lens with the TC-14 tele convertor for a effective focal length of about 1500mm. That’s how you get a big sun! You have to work fast because the show is over in about a minute, with the sun becoming too bright to shoot very shortly after it clears the horizon.

This is just a few minutes later, shooting now with the  sun now at our backs, bathing the elephants in beautiful golden light. When you get this light in the morning you’re fortunate if you’ve already found a great subject and can take advantage of it’s amazing quality.

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The lilac breasted roller is probably the most photographed bird in East Africa and for obvious reasons. Adorned with 17 colors, it is gorgeous just sitting still and a masterpiece of nature’s brushstrokes when it spreads it’s wings and flies. Typically a very shy bird which flies away as you approach, this roller was too  busy “shouting” at a nearby bush full of starling to notice us. Our good fortune.

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Another day, another sunrise, another chance for something special. We had made a point of searching  out this lone tree to use against the sun, but the clouds had other ideas. Then as we were about to call it quits, a seam opened to let the light spill through and give us a teasing glimpse . Not what we thought we wanted that morning  but still beautiful.

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Sometimes the animals are literally right on top you. This vervet monkey was in a tall thicket by the side of the road. Curious, as were we, it sat there and posed for minutes as the sun worked it’s way through the branches. The 400 f/2.8 was way too much lens for this working distance so I switched to my Nikon 70-200 f/2.8 VR which becomes a 190-540mm on the V1. The close focusing distance was just what I needed for a subject only a couple of yards away. Love the directional light and how it works with his gaze.

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Last, but not least, The King. Looking regal, this guy was cooperating big time. The light was good, working distance was optimal and after shooting the first pose he turned into the light for the another great shot. When you  get to work with a subject this magnificent, shooting in the wild with conditions you’d be hard pressed to duplicate in a studio, you pinch yourself afterwards to make sure it’s not a dream.

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Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.

If you’re a Mac user and a photographer, take a look at this!  I found SneakPeek Photo awhile back and it has become an invaluable aid as I poke around my computer.  It’s basically a finder plugin that turns a Quick Look view (the pop up look you get when you select an image and then hit the spacebar) into a treasure trove of reviewable metadata without opening any application.

Every time I need to remember, “What camera did I shoot this with? What ISO, aperture, etc?” SneakPeek is Johnny-on-the-spot with the answer.  The link below will take you to the Code Line website where you can download a trial.

SneakPeek Photo – Quick Look Plugin for Digital Photography.

If you’re a Mac based photographer, I think you’ll find it as useful as I have.

If you’d like to read the old post for a more complete discussion of my reasoning, please be my guest.  The bottom line is there’s gold in your image archives and if you never look back you’re leaving ‘money on the table’.

 Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.

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First let me state the obvious… It is wonderful to travel light! I found a small pouch that I modified to become a very effective field solution, holding not only the Nikon 1 system kit lenses (10mm f/2.8, 10-30mm f/3.5-5.6, and 30-110mm f/3.5-5.6) but an FT-1 mount adaptor allowing use of Nikkor DSLR lenses, and a micro Nikkor 105mm f/2.8. What’s totally awesome about the FT-1 and the 105mm combination is that the 18 oz 105mm delivers the perspective and speed of a 283mm f/2.8 lens. Wrap you head around the fact that bringing along a 300mm f/2.8 for a DSLR means a commitment to carry about 6 lbs (5x as much weight) and you begin to see the advantages of the Nikon 1 system. Other surprises? The DX 35mm f/1.8 on the V1 gives you a tiny, lightweight 95mm f/1.8 … and if you have a 300mm f/2.8 it becomes an 810mm f/2.8! Now, if there was such a thing as an 800mm f/2.8, which there isn’t, can you imagine how big and expensive it would be? But what of the performance? Let’s look at test shots to make you a believer before I get into the images from Panama.

Perhaps it’s my scientific background, but I like to test equipment and push boundaries to understand what results to expect when I’m out in the real world shooting. I decided to shoot the V1 with several lens/V1 combinations combinations and critically compare files. Nothing fancy, no resolution charts, just looking at my neighbor’s house across the street since it always seems to be there available as a test subject. Here is what the Nikon 1 10mm f/2.8 lens sees from my front porch to put things into perspective.

Nikon 1 10mm f/2.8 (27mm)

The Nikon 1 “pancake” 10mm f/2.8 is a nice compact lens.  I tried one to compare to the 10mm end of the Nikon 1 10-30mm f/3.5-5.6 lens and found the prime lens to be slightly sharper (as you might expect from a single focal length lens design), deciding to keep it because of the low profile and additional lens speed.  Now let’s jump to what is possible with the FT-1 and other Nikon lenses. Click on any image to better examine detail. All images were shot at f/5.6 on tripod at ISO 100.

Nikon 105mm f/2.8 (283mm)

The micro Nikkor 105mm f/2.8 is a razor sharp lens design.  I own the pre-VR 105 lens and am always pleased with the edge to edge sharpness (which is what macro lenses are typically designed to provide).  The delight about this lens on the V1 is, of course, the 283mm equivalent focal length.  Can’t say enough about that…

Nikkor 300 f/2.8 (810mm)

Here is where the party starts to get really interesting…  Put a Nikkor 300mm f/2.8 on the V1 and it becomes an 810mm f/2.8 !  Now, if there was an 800mm f/2.8 lens for your DSLR (and there isn’t) imagine how huge it would be, how much it would weigh, AND how much the beast would cost.  If you’re clicking into the large versions of these thumbnails (and you should be) compare the 27mm view from the 10mm lens to the 810mm view from the 300mm.  In a word, astounding.

Nikkor TC-20E III (1620mm)

Never one to leave a stone unturned, why not up the ante even further.  The Nikkor TC-20E III is a superlative teleconverter that takes the 300mm and cranks it to 600mm.  Cast that on the CX sensor and you have a mind boggling 1620mm equivalent.  Still your beating heart and tighten everything on your sturdiest tripod to shoot this combination.  I know it sounds absurd, but look at the output from the V1.  Notice, for example, the nailheads and screws attaching the gutters.  Yowza!

My feeling is that the optical and sensor quality shown here is pretty outstanding. And less you think that the V1 and it’s CX sensor should be dismissed out of hand in favor of an APS-C capture, let’s go there and compare. Here is the same shot with the 300 f/2.8 on the Nikon D7000.

Take into consideration that the 300mm on the D7000 becomes an equivalent focal length of 450mm, while the 300mm on the V1 is an equivalent focal length of 810mm. This means despite the higher resolution of the D7000 16MP APS-C sensor, the V1 “gets you closer” to the subject. Almost twice as close. Since the 16MP allows us to crop, here are “equivalent” images showing the full frame V1 10MP file vs a central crop of the D7000 16MP file to approximately similar content views.

V1_300 f/2.8 (810mm) (left) vs D7000_300 f/2.8 (450mm cropped to 810mm area)

If you’re like me you can’t hardly believe your eyes. The V1 image actually outshines the same content area of a D7000 capture. When you realize that the V1 file is the complete frame and that the CX sensor is only using the central portion of the image circle thrown by the lens (traditionally the best optical quality for a given lens) it may not be as much of a stretch to understand that the V1 file can look so impressive.

This is all well and good, but what about when you take the camera off the tripod and shoot typical subject matter with the Nikon 1 system lenses? Let’s take a look…

Here is a hand held shot taken from a boat while on the Panama Canal. Shooting a boat handheld from another boat is challenging stuff, yet this image of a cargo ship shows exquisite detail. 1/1000 @f/5 ISO 100, Nikon 1 30-110mm f/3.5-5.6 at 60mm (160mm equivalent)

I’ve always been an advocate of crafting higher resolution images by building composite images using panorama-like technique. Here is another cargo ship entering the canal locks, also shot with the Nikon 1 30-110mm f/3.5-5.6, but using multiple vertical frames at 38mm (103 equivalent) to deliver a very large high res composition.

Telephoto compression is a standard technique for flattering portraiture. Here is a young native girl whose tribe lives on the banks of the canal, shot with the Nikon 1 30-110mm f/3.5-5.6 at 97mm (262mm equivalent). ISO 400, 1/250 @ f/5.3

As you can tell, I think the V1 really shines coupled to fine Nikkor glass, and the micro Nikkor 105mm f/2.8 offers unique possibilities as both a razor sharp macro lens and a long specialty telephoto on the V1 (did I mention it’s a 283mm f/2.8 that won’t break your back!).

Single frame captures with the 105mm f/2.8 show excellent detail, whether up close as a macro or focused at infinity for the 283mm telephoto perspective.

The harbor and Panama City skyline was a perfect chance to exercise the 105mm f/2.8 building a wide detailed image.  The depth of the image becomes truly evident when you appreciate crops at 100% magnification, focusing on buildings in the distance and the catamaran in the right foreground.

I’m headed to Tanzania & Kenya next month for wildlife photo safari and you can be sure that my V1 is going with me. Long glass is de rigueur when shooting wildlife and an 810mm f/2.8 could be very useful. We live in very interesting times…  Enjoy!  Mark

Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.

Far afield from photography, since I was high school age I’ve always enjoyed table tennis. Not ping pong. The very name “ping pong” makes me cringe as I envision cheap rackets covered with pimpled rubber and gently hit balls slowly clicking back and forth across the table. Table tennis is a high speed competitive sport (the number 2 participant sport in the world, second only to soccer) which is about as unlike “ping pong” as go carts are to formula 1 racing. I’ve been away from the game for about 20 years but have rediscovered my interest and found another activity that will help keep me in shape a bit. On a whim I decided to make a short table tennis video to share with friends, demonstrating a practice machine I’ve reclaimed from the dust bin. Rather than just setting the V1 up on a tripod and doing a one shot clip I decided to think creatively and see how I could build a sequence of shots that would be more interesting.

Previsualizing a storyline is similar to thinking out a variety of different ways to work a subject with still photographs, just with some additional twists like shifting focus or panning movement. I’m no Spielberg, but I’ve no doubt that every great cinematographer started the same way. The funny thing is, we have all been so visually ingrained through years of watching television and movies that you’d be surprised at the cinematic repertoire of techniques that lie dormant in your mental database. With a little forethought you’ll be crafting footage that will take your viewers by surprise.

One of the first things to do is begin thinking about different shots with different focal lengths and changing among the Nikon 1 lenses. I haven’t bought the video optimized higher end 30-110 lens (which includes silent motors for smooth zooming) but can easily see how as you get serious about video that could be desirable. I did discover early on that although a tripod is mandatory for crisp stable recording, the everyday panning movements we take for granted in all commercial motion pictures is made possible by a fluid dampened video head. I managed a couple of sequences with modest panning whose movement is close to acceptable, but I’m already looking into an inexpensive fluid dampened head.

With the help of a very cooperative subject (me!) I shot a number of sequences. The V1 has some interesting video tricks up it’s sleeve, such as combining the ability to capture a still image and a brief 5 second video of the same moment in time, but I haven’t gone there yet. This effort is pretty vanilla from a technical perspective because I’m still taking baby steps. And I honestly think that baby steps can take you a long way. It’s akin to learning studio lighting for portraiture. You can do amazing lighting with just a single light source. And if that light source is a soft box the results can look very professional right out of the gate. With a video, if you have great subject matter, good light and shoot sequences based on creative perspective / focal length, and timing, the content will be engaging and grab your viewer. Your still image skills are going to come in very handy. I heard an interesting quote a few years ago from a famous photojournalist who was at the leading edge advocating digital video for photojournalism. He was involved in teaching photojournalists how to blend video into their workflow. He said, “It’s pretty easy for me to take a talented still photographer and shape them into a talented videographer because of what they understand already about crafting still images. Taking someone with a background in videography and teaching them to be a talented still photographer is a whole different matter because the mind sense of capturing a single frame and having it include all critical details just isn’t natural. They are all about shooting all around and over the important content to be sure they have it and then finding what’s useful later in the editing room.” Approach video with the same critical creativity you put into your still images and you’re already half way there.

I used iMovie 11 on my Mac to combine the sequences. If you’ve ever put together a slide show in PowerPoint or Keynote, the thought process is very similar. Transitions between sequences make the flow visually appealing and the use of sound and music can also support the content. Matching style of music and timing of delivery to the video imagery can elevate the viewer experience considerably as well. It’s the time tested cliché… the more effort you put into it, the better your end result will be.

OK, enough preamble. Enjoy the demo. And no critical comments on my forehand. Like my video skills, it’s a work in progress too!  LOL

Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.

As a digital enthusiast and photo educator I field questions constantly from students and other consumers, so I feel a responsibility to keep abreast with at least some of what’s out there that is non-Nikon. Since I do this on my own dime I can’t justify buying every camera that comes along, but now and then I do pick something up to get firsthand experience. As the niche of mirrorless digital cameras emerged I was intrigued because as a small guy, lugging tons of heavy DSLR equipment around is not my favorite thing even if the image files are great. One of the first mirrorless cameras that piqued my curiosity was the Sony NEX-5. The idea of a DX sensor (Sony would say APS-C sensor) in a tiny body, yielding the same quality as my D300 was too alluring to pass up. I got the NEX-5, shot it a couple of months, and then sold it. Why?

One reason was the design of the camera, particularly the menu system and external user controls. They were not up to snuff. One of the things about Nikon that really singles them out is outstanding ergonomics. The design of the camera controls, their placement, and the logical (for the most part) menus give me an interface that really delivers. I hear this echoed constantly by other Nikon photographers and among the select group of shooters who switch from Canon, or one of the other manufacturers, to Nikon. The quality of the image files from the NEX-5 were excellent. Shot side by side with my D300 they held their own toe to toe, but of course the NEX system was limited in the lenses available compared to the Nikon glass that could be used with the D300.

The second reason: I was hoping that Nikon would enter the same market niche and come out with an APS-C mirrorless compact of it’s own, imbued with those wonderful things that make a Nikon a Nikon. So I waited… and waited… and waited.

Then I heard of an upcoming Nikon announcement. Like many of you I expected the press release to tout the eagerly anticipated DSLR replacement for the long-in-the-tooth D700 or perhaps D3s. Instead, to my dismay came Nikon 1. Well, if not a DSLR then the long awaited Nikon APS-C mirrorless camera? As I read the specs describing a whole new sensor format my heart sank. It sounded like just another Coolpix variant and I was sorely disappointed. Then I went to PhotoPlus Expo, the major camera show held each fall in NYC. This was where the Nikon 1 system was making it’s first splash. I ventured to the Nikon booth and picked one up.

No review you read on the Internet can ever quite equal the tactile feedback of having an object in your hands. The Nikon 1 V1 was substantial. Significant weight for it’s size and a robust construction missing in most small cameras. It felt as well built as a higher end DSLR. The lens mount is serious quality despite the fact that the lenses are small and light. Looking inside gives an equally serious impression about build as does the exterior finish. It’s when you start using the camera that the cutting edge technology becomes evident. FAST startup. FAST focus. I mean very FAST focus. And the electronic viewfinder is smart, activated automatically when a proximity sensor detects the approach of your face as the camera comes to your eye. No manual switching from LCD to viewfinder. Sweet. The overall design is relatively simple. Many of the controls will be familiar to anyone who has used a compact digital camera. A few take on new spins for this particular model. A feature or two I wish were directly accessible are absent (ISO). But after shooting the V1 for a short while the ergonomics come quickly and it’s a clean interface. Even the design of the menu text on the large LCD is refreshing. There is a LOT of technology in this camera. Too much for the scope of this blog post, but suffice it to say that someone looking for a high quality small camera that also excels at video should seriously consider this system.

The lenses are small and light. Honestly, at first their petite physical dimensions made them hard to take seriously. It wasn’t until I began shooting and looking at image output on the computer that I gained new respect for their capability. They are sharp. The 10mm pancake is a fast 2.8. The variable aperture 10-30 and 30-110 are VR lenses. I really like manually zooming my lenses on this small system as opposed to the electronic zoom control ubiquitous in the compact camera market.

And the files off this new format sensor are something pretty special given it’s diminutive size. No, it doesn’t compete head on with the 16MP of the D7000 or the 24MP of theD3x. Let’s be realistic. OTOH, the entire 3 lens system covering focal lengths from 25mm to 275mm (35mm equivalent because of the 2.5x conversion factor for the Nikon 1 system) will fit in the palm of one hand. Wrap your head around this, factor in the quality of the output and you’ll begin to ask yourself some questions.

But I did more than ask myself questions. I bought one because I knew I needed to shoot it myself and because my Nikons often can pay their own way making great images. This was just before leaving to teach a Nikon Mentor Series trek in Las Vegas after which I was heading on for a couple of personal shooting days in one of my favorite landscape locations, Death Valley.

For the first time in a long time I LOVED carrying camera equipment around. Combined with the ease of a Black Widow belt system (from Spiderholster.com) and a small belt worn pouch which held the two lenses not being used, I was in seventh heaven. The totally delightful thing about using the V1 with the Black Widow was that when changing lenses the body was suspended from the Black Widow belt mount, leaving both hands free to do the deed. Soooo nice. I hiked out into the Death Valley sand dunes with a small very lightweight tripod. Another benefit of this size camera: a lightweight tripod provides excellent stabilization.

The more I used the system, changing lenses, enjoying the heft and finish of the body, the more I came to feel like I was using something Leica-like. It was unlike any other compact camera I’ve used.

And the image quality speaks for itself. Click on these thumbnails for larger views.

Here I’m hiking up he ridge of a 90-100 foot sand dune. This is no small task as anyone who has climbed sand dunes will attest. I was loving the fact that the V1 was on my waist and my lightweight tripod made a handy walking stick. Notice the precision of the framing. This is the full frame of the V1, composed as seen through the electronic viewfinder (which was a real treat in the bright dawn sunlight).

A little further up the dune ridge another great composition presented itself and the V1 capitalized on the ability to place the curve exactly where I wanted it lower right.

 In the hotel lobby in Las Vegas there was a gorgeous holiday display using ornaments in large acrylic tubes, lit from below. Even though the lobby lighting was dim, with the V1 set to ISO 100, a 3 second NEF exposure at f/8 on the tripod soaked up the available light and brought the colors to life.

I am not suggesting that you’ll be making 40×60 prints that rival a full frame sensor. But for small to medium sized prints, and certainly for electronic display, the image files are superb. I’ll be very interested to see what photojournalists will begin to say about this system since many of it’s attributes should appeal to their style and needs.

So, look past Ashton prancing around with his new beard getting fired from a cannon. I think this camera has a LOT of potential and I think that any serious photographer looking for a light travel kit (that also excels at video) should give it real consideration. Happy Holidays!

Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.

Join him as he travels and share his enthusiasm for photography and learning.