Nikon D5200

You are currently browsing the archive for the Nikon D5200 category.

I was recently conversing with one of my readers – a Nikon D5200 user who was putting the camera through its paces for professional-level video shooting. He has given the camera a thorough field test, so I asked him to put together a review and a tutorial of the camera in regards to its video performance. So for today’s guest post, I introduce:

by Steve MacDonald of 5dhdvideo
I have recently put the Nikon D5200 through its video capability paces, in a couple of different shooting scenarios.  Scenario one was a bright sunny outdoor situation with mixtures of heavy sunlight and shaded areas, and the second was an indoor, controlled lighting situation.

Scenario one was tested with a Nikon 17-55mm f2.8 making use of a Schneider 4×4 polarizer and Schneider 4×4 1.6 graduated ND filters. Mind you, these are probably the harshest video acquisition lighting conditions.

Nikon D5200 video dslr manual movie mode
Still from dSLR video taken with the Nikon D5200, by Steve MacDonald

One of the biggest challenges of shooting with any dSLR camera is setting critical focus. One camera feature that can help is a really decent LCD screen. I found the Nikon D5200 screen to be less the stellar, but I suppose that is to be expected from a mid-level consumer camera. Using a Hoodman loupe on the back of this unit, at first, I thought the inability to see a somewhat sharp image was the kit lens. But even with a very expensive Nikon 17-55mm f2.8 zoom lens, manually achieving critical focus was challenging. Using the cameras focus assist the image never really seemed all that sharp, so it’s was a guessing game of finding what would be the sharpest focus point. I quickly abandoned using the LCD for critical focusing and used the cameras viewfinder with a right-angle viewer by Seagull. This worked much better, but it’s something I’m not used to, having come from shooting with many Canon DSLR models.

I decided to give auto-focusing a try, since, a lot of my shots that day were stationary subjects – and that feature seemed to be dead on. The only downside to using this is that in certain lighting situation, the Nikon will throw a beam of light from the AF-Assist Illuminator. Not a big deal, untill you realize the AF-Assist Illuminator is eating into your battery faster than you can imagine.  (Note – you can turn off the Built-in AF-Assist Illuminator using Custom Setting a3.) The battery life of the EN EL14 has already been documented as being less than adequate, which I can confirm.

Nikon D5200 video dslr manual movie mode
Still from dSLR video taken with the Nikon D5200, by Steve MacDonald

Another quirk I found with this Nikon is discrepancies between metering in the viewfinder then switching back to live view. Many times after setting a dead zero meter in the viewfinder and not moving anything, switching back to live view, could at times , show an almost full stop difference. Switching metering methods didn’t seem to change the situation.

We’re all familiar with the nagging Nikon situation of having to come out of live view to change aperture settings, which is indeed a pain, but what I didn’t realize is if you keep the camera pointed at your subject, it will meter that subject in live view. This brings me to the subject of trying to run and gun with this camera: in two words, very difficult. The reason being is having to come out of live view to change the aperture, making a moving subject next to impossible to keep properly exposed. The way around this is to buy manual lenses with the aperture on the barrel and not controlled by the camera. Or, one would think that is a viable work around – not so. Nikon has further limited video functions on this camera by not offering any metering with a manual lens attached, which in my opinion renders this camera far less than ideal from a professional video acquisition standpoint. (Note: the Nikon D7100 and D7000 offers the ability to register non-CPU lenses in the camera, thus allowing access to additional functions including color-matrix metering – though they suggest you make use of Center-Weighted or Spot Metering in these situations.  The D7100 and D7000 also offer the ability to assign aperture selection to the aperture ring on lenses which have this ring, thus allowing aperture change while shooting video.)

Nikon D5200 video dslr manual movie mode
Still from dSLR video taken with the Nikon D5200, by Steve MacDonald

It goes without saying, for professional use an EVF (electronic viewfinder / monitor), such as the SmallHD DP4 EVF, is pretty much a must with any DSLR. False color, peaking, and many other features they offer make for a better user experience.  Sure, you could rely on an EVF to set proper exposure levels with a manual lens attached to the D5200, but you’re going to pay a grand for a good one.

The indoor shooting scenario was a two camera interview situation, with the other camera being a Canon T3i. One feature I really liked was Nikon’s ability to tweak the White Balance presets in movie mode, in order to dial in a match between the two cameras. The picture quality of the Nikon looks very good, and the ability to output a clean HDMI will no doubt attract many. Shooting the indoor scenario was much easier, although none of the issues mentioned above disappeared.

At the end of the day, my take on this camera is that it just isn’t full equipped for demanding or professional-level videography. It takes fantastic still images, since as with any of these dSLRs, that is their main function. While its video capabilities and performance may fulfill the needs of a casual video user, there are just too many roadblocks with this camera to make it a sensible choice when it comes to professional video work. One should instead consider the additional video capabilities of the D7000 or D7100, which both improve upon some of these video shortcomings of the D5200.

Nikon D5200 video dslr manual movie mode
Still from dSLR video taken with the Nikon D5200, by Steve MacDonald

Manual exposure and white balance for the videographer with the Nikon D5200

Although the Nikon D5200 has the quirk of having to come out of live view to change aperture, and the fact it won’t meter a manual lens, this section of the article focuses on methods to help you gain proper exposure for shooting video.

Recently, I purchased two Rokinon Cine Lenses for the D5200, knowing full well the camera would not meter these lenses. If you don’t know what that means, basically, the built in light meter of the D5200 will not give you a reading with these lenses or any manual lens. My main reasons for buying these manual lenses was to avoid having to come out of live view to change the aperture, not to mention, for the price, these are great prime lenses!

So my quest after buying these Rokinon’s was to find a way to get a proper exposure, without having to resort to buying a light meter. Don’t get me wrong, having a light meter is well worth having,  but I just spent a chunk on these lenses, so that’ll have to wait. What I did buy was a Photovision one-shot target.  Targets are used to set 18% gray level, but with this particular target, it also has a white and black section outside the middle gray, so in essence, it sets your highlight and black level as well. The target works by first lighting your scene, then setting the target in front of that scene and taking a photo of the target.  You’ll want to make sure the white side of the target is towards the key light of your scene, and that the entire target is filling your screen with the white, gray, and black columns in sharp focus.  You’ll also want to make sure your shutter speed and ISO are set for your video shoot at hand. Next, set your D5200 play back display options by accessing the menu, highlighting the display icon, top icon on the left, then making sure all those options have a check mark beside them. Now, hit your playback button and bring up that photo of the target.

By clicking on the bottom portion of the multi-selector you can scroll through the various information provided for that particular photo. What you’re looking for is the histogram display. This histogram display will show you three distinct spikes. The left most spike being the black level, the middle gray, and the far right spike is your highlight. It’s this highlight we want to set so that it’s not clipping.  Clipping would have the far right spike at or very near the far right side of the histogram. Now, by adjusting your f-stop (aperture setting) for subtle changes in exposure, and taking a photo of the target after each f-stop adjustment, you’ll be able to view that photo in playback and determine if that exposure gives you the proper histogram.

After determining which histogram suits your best exposure, you’ll want to set that target photo as a custom white balance within your D5200.  Note: although by default the camera sets the last photo you’ve taken as your white balance, I choose to select the photo just to make sure its definitely the right one. You’ve now not only set a proper white balance, but you’ve also set an exposure level. One thing to keep in mind is that you need to light your scene for proper levels because the target has no idea how light or dark your subject is, it only reflects what lights you’ve set up for a particular scene.

Now, with all that being said, this target wouldn’t work in a run and gun situation, it would just take way to much time. For these types of situations, you can still utilize the histogram feature of the D5200 to get a proper exposure. To do that, set your f-stop (aperture), take a photo of your scene, review that photo and look at your histogram. If the highlights are slammed against the right side, lower your f-stop (aperture), take another photo and review it’s histogram reading.  The advantage of using the histogram in this manner, is that you’ll soon recognize what’s over exposed just by viewing it in the LCD, because you’ve been in these situations enough times and have looked at enough histograms to know what’s over exposed just from viewing your scene from the LCD.Utilizing the one-shot target, as well as, learning to read your histograms will give you a big advantage in gaining proper exposures with your Nikon D5200.

Nikon D5200 Experience, my most recent e book and the first D5200 user’s guide, is now available! As with all my Full Stop guides, this e book goes beyond the manual to help you learn the features, settings, and controls of the versatile Nikon D5200, including its sophisticated 39 point autofocus system. Plus most importantly it explains how, when, and why to use the functions, settings, menu options, and controls in your photography. It includes recommended settings for the Menu and Custom Settings options, and explanations of the in-camera features such as Multiple Exposure, HDR, and Time-Lapse Shooting.

Written in the clear, concise, and comprehensive style of all Full Stop guides, Nikon D5200 Experience will help you learn to use your camera quickly and competently, to consistently make the types of images you want to capture. This e-book is available in either PDF or EPUB format for reading on your computer, tablet, iPad, e-reader, etc.

Nikon D5200 Experience book ebook manual guide instruction tutorial how to dummies field guide use autofocus af system

Learn more about it, view a preview, and purchase it here:

http://www.dojoklo.com/Full_Stop/Nikon_D5200_Experience.htm

As one reader has said about Full Stop guides, “It’s the first guide I’ve read which has taken me through all the settings in an understandable way. I now feel that I have control over the camera.”

Take control of your Nikon D5200, the image taking process, and the photos you create!

This instant download Nikon D5200 e book is for those who wish to get more out of their camera, go beyond Auto and Program modes, and shoot in Aperture-Priority (A), Shutter-Priority (S) and Manual (M) modes. To get you started, it guides you through all the Playback, Shooting, and Setup Menus, Custom Settings, and Movie Mode Menu settings of the D5200 to help you best set up the camera and its controls for your specific shooting needs. The guide covers basic dSLR camera functions and exposure concepts for those new to digital SLR photography, and explains more advanced camera controls and operation, such as taking full advantage of the upgraded, advanced 39-Point Autofocus System and its AF Modes, AF Area Modes, and Custom Settings for sharp focus of still and moving subjects. It explains how and when to use the various metering modes and exposure compensation for correct exposure of every image, how to take advantage of other features of the D5200 such as the in-camera HDR and Time-Lapse Shooting features, and introduces the HD video capabilities.

Nikon D5200 Experience book manual field guide dummies learn tutorial how to instruction autofocus night HDR    Nikon D5200 Experience book manual field guide dummies learn tutorial how to instruction autofocus body controls

Nikon D5200 Experience book manual field guide dummies learn tutorial how to instruction autofocus controls viewfinder    Nikon D5200 Experience book manual field guide dummies learn tutorial how to instruction autofocus
Sample images from Nikon D5200 Experience.

Nikon D5200 Experience not only covers the various settings, functions and controls of the Nikon D5200, but it also explains when and why to use them for your photography. The guide focuses on still-photography with an introduction to the movie settings and menus to get you up and running with HD video. Sections include:

  • Setting Up Your D5200 – All of the D5200 Custom Settings and Playback, Shooting, and Setup Menus, including Movie Mode Menus, with explanations and recommended settings for practical, everyday use. Set up and customize the advanced features of your dSLR to work best for the way you photograph.

  • Aperture Priority (A), Shutter Priority (S), and Manual (M) Modes – How and when to use them to create dramatic depth of field, freeze or express motion, or take total control over exposure settings.

  • Auto Focusing Modes and Area Modes and Release (Drive) Modes – The 39 point D5200 autofocus system is a is a powerful tool, and taking control of it will enable you to successfully capture more sharp images, especially in action situations.  Learn the AF Modes, AF Area Modes, and AF Custom Settings, how they differ, how and when to take advantage of them to capture both still and moving subjects. Plus how and when to use focus lock.

  • Exposure Metering Modes of the Nikon D5200 – How they differ, how and when to use them for correct exposures in every situation, and how to customize them for your needs. Also how to make use of exposure lock.

  • Histograms, Exposure Compensation, Bracketing, and White Balance – Understanding and using these features for adjusting to the proper exposure in challenging lighting situations, and setting custom white balance.

  • The Image Taking Process – Descriptive tutorials for using the settings and controls you just learned to take photos of both still and moving subjects.

  • Photography Accessories – The most useful accessories for day-to-day and travel photography including accessories specific to the D5200.

  • Composition – Brief tips, techniques, and explanations, including the creative use of depth of field.

  • Introduction to Video Settings – Settings and explanations to get you started shooting HD video.

This digital guide to the Nikon D5200 is a 195 page, illustrated e-book that goes beyond the official manual to explain how, when, and why to use the features, settings, and controls of the D5200 to help you get out there shooting in the real world.

Learn more about Nikon D5200 Experience, view a preview, and purchase it on my Full Stop website here:

http://www.dojoklo.com/Full_Stop/Nikon_D5200_Experience.htm

 

If you are considering getting the new Nikon D5200, B&H Photo has put together a nice D5200 bundle with a free battery and free battery grip.

The third-party battery grip will allow you to use two batteries, thus extending your shooting time.  It also makes the camera larger, which many photographers prefer.  The D5200 is a relatively small dSLR, and many users find that the extended grip makes shooting in portrait orientation easier.  But in addition to that, it may keep your pinky from “falling off” the bottom when shooting with the camera in “standard” orientation, as well as help the feel and balance of the camera when using larger / heavier lenses.

I am busy working on my Full Stop camera guide to the Nikon D5200, Nikon D5200 Experience, which I hope to have finished by late February.  As with all my guides, it is an e-book user’s guide that goes beyond the manual to help you learn the features, settings, and controls of this versatile camera.  Most importantly, it explains not only how but also when and why to use the various features, controls, and custom settings in your photography.

The D5200 is a bit more advanced than its D5100 predecessor due primarily to the upgraded autofocus system.  The D5200 now has the 39 point AF system of the D7000, which proved to have a steep learning curve for many users. Nikon D5200 Experience fully explains how to take control of this powerful autofocus system and its Autofocus Modes and Autofocus Area Modes.

Nikon d5200 autofocus system 39 af point use learn book ebook guide manual
Simulated view of the Nikon D5200 viewfinder, showing the 39 autofocus points. Background image shown at 75% opacity to better view the AF points.

If you wish to purchase your D5200 from Amazon, it is now also available there in a variety of colors and kits:

Nikon D5200 dSLR on Amazon, body only / with 18-105mm kit lens / with 18-55mm kit lens

This was originally written for the Nikon D7000, but as the Nikon D7100, the Nikon D7000, the Nikon D610 / D600, the Nikon D810 / D800, and the Nikon D5200 / D5300 all share a similar Autofocus system, most of this information will apply to all of them.  And even though some of the models have 51 AF Points instead of the 39 AF Points of the other cameras, all the same settings and actions apply.

The Nikon D7100, the Nikon D7000, the Nikon D610 / D600, the Nikon D810 / D800, and the Nikon D5200 / D5200 dSLRs all share very similar, and quite sophisticated autofocus systems – especially if you are coming from a D90, D5100, or earlier camera.  With their 39 AF points or 51 AF points that can be used independently or together in a variety of ways, its Autofocus Custom Settings that affect many of the functions of the AF system, and the three different Autofocus Modes that are used in various combinations with the four different Autofocus AF-Area Modes, it is no wonder that users are having difficulty figuring it all out. (Plus the D810 offers an additional Group Area AF Area Mode!)

Nikon D600 D7000 autofocus af system 39 point auto focus control learn use how to dummie book guide manual
Some of the Autofocus controls of the Nikon D600, located near the base of the lens (to the left of the FX badge and below the Lens Release Button).

First, the Autofocus Controls on the D810/ D800, D610/ D600, D7100, and D7000 are a bit different than previous cameras.  You can change the Autofocus Mode and AF Area Mode by pressing the AF Mode Button (located inside the Focus Mode Selector switch) and then use the Command Dials to adjust the settings as you view them on the top LCD Control Panel or in the Viewfinder.

Focus Mode Selector – This switch is used to turn on or off autofocus. Set to AF for autofocus and M for manual focus. Be sure to set the similar switch on the lens as well. If your camera does not seem to be autofocusing, be sure to check this switch and the one on your lens.

AF Mode Button – This button, located inside the Focus Mode Selector switch, may be confusing at first to those who have not previously seen or used it on the Nikon D7000 or D600, though you should quickly find that it is a convenient design. It is used to select the Focus Mode as well as the autofocus AF-Area Mode. Press this button and turn the rear Main Command Dial to select the Focus Mode, such as AF-A or AF-C, while viewing the setting on the top Control Panel or in the Viewfinder. Press this button and turn the front Sub-Command Dial to set the AF-Area Mode, such as Single-Point AF or 39-Point Dynamic-Area AF. Again, you can view the selected setting on the top Control Panel or in the Viewfinder. The autofocus system including the Focus Modes and AF-Area Modes will be explained below.

Next you will need to set up some of the autofocus Custom Settings to begin to customize how the AF system functions for your needs (Some of these options may not be available with the D5200):

AF-C priority selection – This setting determines if attaining focus is top priority when you are in Continuous-servo AF (Auto-Focus) Mode (AF-C), or if you just want the shots to be taken even if exact focus is not attained for each shot.  If exact focus is your priority, set on Focus.  If getting the shots at all costs is the priority, set for Release.

AF-S priority selection – This is similar to above, except that this setting is for when you are working in Single-servo AF Mode (AF-S), typically used when your subject is not moving.  Since AF-S is typically used with subjects that are not moving, it makes more sense to make sure focus is attained, thus you should typically select Focus for this setting.

Focus tracking with lock-on – This setting determines how the autofocus system reacts to sudden, dramatic changes in the distance of the subject when you are working in AF-C or AF-A modes.  Decide if you wish to have the camera quickly refocus on a new or closer subject (1-Short), wait awhile until it ideally picks up the intended subject again (5-Long), somewhere in between, or immediately refocus on a new subject at a large distance from the initial subject (Off).  Keep this option in mind with the various AF-C and AF Area Mode configurations, as it may change depending on your subject and situation.  Sometimes you don’t want the camera to quickly refocus on a closer or more distant subject, while other times you do.

AF point illumination – This is used to set whether or not the selected autofocus point (AF Point) is illuminated in the viewfinder.  Since you pretty much always want to know where your camera is focusing, this should be set for On.

Focus point wrap-around – This determines if the AF Point selection will “wrap around” to the other side of the screen when you reach an edge.  In other words, if you are selecting your AF Point (as you should be doing at almost all times) and you reach an AF Point on the far right, when you click right again, do you want to “wrap around” to a focus point on the far left, or do you wish to stop at the edge and not continue to the other side?

Number of focus points – This setting determines the number of autofocus points that are available for selection in your viewfinder.  If you are always selecting your AF Point (as you typically should) you may find that it is quicker and easier, at least at first, to limit the number of AF Points to 11 – AF11.  If you prefer to have all the AF Points available for your selection, set this at AF39 (or AF51 with the D7100).  If you set to 11 AF points your selection will be limited to those 11 AF points, but the additional surrounding AF points will still be active to be used by the camera in the AF-Area Modes and in subject tracking, so the camera is still taking advantage of all the AF points of the autofocus system.

Built-in AF-assist illuminator – This is used to enable or disable the autofocus assist light.  Turn this On to assist you in autofocusing in low light, but be sure to turn it Off if you are working in situations where it will be distracting, unwanted, or unnecessary.

and

Assign AE-L/AF-L button (f4 on the D600 and D7100) – This is to assign the function of the AE-L/AF-L Button.  You may want to use this in conjunction with the Function or Fn Button and use one to lock exposure and the other to lock focus.  In that case, you would typically set this to AF lock only to use this button to lock focus.

I go into much more detail about each these Custom Settings, how you may wish to set them up, and recommended settings in my e-book guides for all the current and previous cameras including Nikon D600 Experience, Nikon D7100 Experience, and Nikon D5200 Experience – but this should get you started.

Nikon D600 book ebook camera guide download manual how to dummies field instruction tutorial     Nikon D7100 book ebook manual tutorial field guide how to learn use dummies

 

Using Autofocus
Now on to using the AF system.  (All of the information below is also adapted from my e-book user’s guides, so I hope you will have a look at them to learn more.)

One of the essential steps in taking a successful photo is controlling where the camera focuses.  If you allow the camera to autofocus by choosing its own Focus Point(s), it typically focuses on the closest object or a person in the scene.  This may or may not be what you want to focus on.  So you should choose where the camera focuses using the autofocus Focus Points.  But first you will need to select an appropriate Autofocus Mode and an Autofocus Area Mode, based on your subject and situation.

Autofocus Modes
The D7100, D7000, D600, and D5200 each have three different Autofocus Modes to choose from, typically depending if your subject is still or moving.  They also have four different Autofocus Area Modes (see below) to specify how many of the AF points are active and how they track a moving object.  You can set these two functions in various combinations.  First the Autofocus Modes:

Single-Servo AF (AF-S)
Use this mode when your subject is stationary, or still and not going to move, or if your subject is not going to move very much, or if the distance between you and the subject is not going to change between the time you lock focus, recompose, and take the shot.  Lock focus on the subject and recompose if necessary.  When using AF-S, you can select from two Autofocus Area Modes, either Single-Point AF where you select the AF point, or Auto-Area AF, where the camera selects the AF point(s) for you.  I suggest you nearly always select your own desired AF point.

Continuous-Servo AF (AF-C)
Use this mode when your subject is moving.  If the subject is moving towards you or away from you, the camera will keep evaluating the focus distance, as long as the Shutter Button is kept half-pressed.  You will need to use this in conjunction with the Autofocus Area Modes to determine if and how the camera tracks the subject laterally to the surrounding AF points, or if it will only track the subject if it remains at the initially selected AF point.  If the subject is going to be difficult to follow or is moving across your field of view, set the AF-Area Mode to one of the Dynamic-Area AF modes or to the 3D-Tracking mode.  Focus on the moving subject with the selected point if using Single-Point, one of the Dynamic Area Modes, or 3D-Tracking, or let the camera select the AF point in Auto-Area AF, and then as long as the Shutter Button remains half-pressed the camera will track the subject as it moves closer or farther in distance.  Depending which AF Area Mode you are using, the camera may also maintain focus or track the subject to some or all of the surrounding focus points if it moves away from the initially selected point.  More about this in the Autofocus Area Modes section just below.

Auto-Servo AF (AF-A)
This mode is a hybrid of the two other focus modes.  It starts in Single-Servo AF (AF-S) mode then changes to Continuous-Servo AF (AF-C) mode if your subject starts moving.  Why shouldn’t you use this all the time, then?  Well, if you are focusing and then recomposing, as you may often be doing, your movement of the camera may fool it into thinking that the subject is moving and your resulting focus may not be where you want it to be, or may not be as accurate as it might be if you are using Single-Servo AF.

Nikon D600 autofocus 39 point af system use learn tutorial how to auto focus mode area
The arrangement and position of the 39 AF points of the Nikon D600, shown with the optional viewfinder grid display.

Manual Focus
Sometimes you may be taking several photos of the same subject from the same distance, or for some other reason want to keep the same focus distance and not have to keep re-focusing and re-composing.  Or you may be taking multiple photos for a panorama.  In these situations, turn off the auto-focus on your lens by switching from AF to M with the camera’s Focus Mode Selector switch and with the A/M switch on the lens itself.  Just remember to switch them back when you are finished.  You may also wish to do this if you want to precisely manually focus with the focus ring on your lens.  For lenses with “full time manual focus” however, you don’t need to switch to M in order to manually override the autofocus with the lens focus ring.  These lenses will have M/A and M on the lens focus mode switch instead of A and M.

Autofocus Area Modes
The Autofocus Area Modes are used to set if just a single AF point is active or else how many AF points surrounding your selected AF point will be used to maintain focus or to track a moving subject if you are using AF-C or AF-A Autofocus Modes.

Single-Point AF
Only one AF point will be active, and surrounding AF points will not become active to maintain focus or to track a subject that moves away from the one selected point.  This is typically used along with Single-Servo AF (AF-S) to focus on a stationary or still subject, or in a situation where you will be reframing the shot after you lock focus at a specific distance.  It can also be used with accuracy with AF-S mode for moving subjects if you take the photo quickly or if you recompose and take the shot quickly after locking in focus, especially if the camera-to-subject distance does not change at all or very much in that period between locking focus and taking the photo.  Use the Multi Selector to choose your active AF point as you look through the viewfinder and use the OK Button to quickly select the center AF point.  Also, remember that Custom Setting a6 allowed you to choose between having all 39 AF points available or to limit the camera to 11 AF points.  If you are just starting out with manually selecting a single Focus Point, you may wish to limit them to 11 now, and when you get the hang of it or when you are using one of the other AF Area Modes described below, increase it to 39 to take full advantage of all the AF points of the D7000 autofocus system.  If you choose Single-Point AF with Continuous-Servo AF (AF-C) or Auto-Servo AF (AF-A) for tracking moving subjects, it will only track the subject as long as it is positioned at the selected AF point, and it will not be tracked laterally to the other, surrounding points.  In other words, the single AF point you select will track a subject if it moves closer or farther away, but the AF system will not follow or track the subject if it moves left, right, up, or down and away from your selected AF point.  To do this, you use Dynamic-Area AF Mode or 3D-Tracking.

Dynamic-Area AF
With the Dynamic-Area AF Modes, you select an AF point to tell the camera where to autofocus, and if your subject briefly moves away from that point to a neighboring point or if you lose the subject from your AF point while panning, the camera will use the surrounding AF points to help maintain focus on it.  Select one of the Dynamic-Area AF options (below) when you are photographing moving or potentially moving subjects using Continuous-Servo AF (AF-C) or Auto-Servo AF (AF-A).  These modes are ideal for a subject moving closer or further from the camera but which may also move laterally away from the selected AF point faster than you can react in order to keep it located at that point, or for when you are panning and following the subject and attempting to keep it located at the selected AF point, but may have a little or a lot of difficulty doing so.  Remember that you need to keep the Shutter Button half-pressed in order for the continuous focusing at the initial point or the surrounding points to occur.  Note that the camera may pick up and start tracking a new subject that falls under the selected AF point if you lose your initial subject, in part determined by your setting for Custom Setting a3.

9-Point Dynamic-Area AF will use the immediate surrounding AF points to help maintain focus on a subject that briefly leaves the selected AF point.  This can be used with predictably moving subjects, like a runner or vehicle moving towards you or one that you can easily follow laterally by panning.

21-Point Dynamic-Area AF will use even more of the surrounding AF Points, more than half the total AF Points, to help maintain focus on a subject that briefly leaves the selected AF point.  This should be used for more unpredictably moving objects, like sports players on a field, which may quickly move further away from your selected AF point before you have a chance to realign that point over the subject.

39-Point Dynamic-Area AF (or 51-Point Dynamic-Area AF with the D7100) will use all of the 39 AF points (or 51 points) to help maintain focus on a subject that briefly leaves the selected AF point.  It can be used for very quick and unpredictably moving subjects, like pets, birds or other wildlife, and all 39 AF points will be used to maintain focus on the subject as you attempt to realign the selected AF point with the subject.

The Dynamic-Area AF Modes are not used to track and maintain focus on a subject that is moving across the various AF points in the frame, but rather are used to stay focused on a moving subject that you attempt to keep located at your selected AF Point.  To track a subject that is moving across the frame, intentionally passing from one AF point to the next, use 3D-Tracking.

Nikon D5200 autofocus af system viewfinder 39 point how to use learn manual guide book instruction dummies tutorial area mode dynamic
A simulated image of the Nikon D5200 viewfinder, showing the autofocus focus points active with 9-Point Dynamic Area AF area mode, when the center AF point is selected. (Image shown at 50% opacity to better view AF points.)

3D-Tracking
This mode is used for subjects moving across the frame in any direction, or subjects moving erratically from side-to-side in the frame, and they are tracked by areas of color.  This is used when you don’t wish to necessarily pan or follow the subject to keep it located in the same part of the frame, but rather when you wish to keep the camera relatively still as the subject moves across the frame.  You may select this option when you are tracking and photographing moving subjects using Continuous-Servo AF (AF-C) or Auto-Servo AF (AF-A).  Again, you choose the initial AF point to locate the subject and begin the tracking.  If the area of color you wish to track is too small or if it blends into the background, this mode might not be very effective.

Auto-Area AF
The camera uses all 39 AF points to detect what it thinks is the subject and automatically choose the appropriate AF point(s).  Typically, the camera will select the nearest subject or a human in the frame, so it may not focus on exactly what you wish to focus on.  That is why it is best to use one of the other modes and select the AF point yourself.

Group Area AF
The Nikon D810 and D4s include the Group Area AF autofocus area mode, which makes use of a group of 5 AF Points arranged in a cross-shaped pattern. And instead of selecting a primary point with the surrounding points being “helper points,” you will actually be selecting the group of five points, which will all be used to attempt to focus on the subject. Unlike the other AF Area Modes with multiple points, the Viewfinder will actually display the four outer points of the group, but for some reason not the central point – perhaps so that you can better view the subject.

Keep in mind that with the other somewhat similar Dynamic Area AF modes, you choose a primary point and attempt to keep the subject located at that point, and the surrounding points act as “helper” points if the subject happens to move away from the primary point. But with Group Area AF you select the entire group of AF Points, and they all work equally to focus on the subject. This mode can be used similar to Single Point AF but when it might be challenging to locate the subject under an individual point. When working in AF-S Focus Mode and using Group Area AF, the selected AF points will give priority to faces if they are present, otherwise they will focus on the closest subject.

 

The next step is to learn to lock focus independent of locking exposure, and customize the camera’s controls to perform these functions how you wish.  But you are going to have to have a look at my e-book guides Nikon D7100 Experience, Nikon D7000 Experience, Nikon D600 Experience and Nikon D5200 Experience to learn about this and many other important functions of your sophisticated Nikon D600, D5200, or D7000!

Nikon D600 book ebook camera guide download manual how to dummies field instruction tutorial      Nikon D7100 book ebook manual tutorial field guide how to learn use dummies

 

To learn about another important reason why you need to take control of your autofocus system, see the related post:

Don’t Let the Locations of the AF Points Dictate Your Composition

What do you do when, with your desired framing, your subject is not located exactly under or near an AF point? Even with all the AF points of an advanced Nikon D7000 and D600, this will often be an issue. Have a look at the above post to learn why this is an issue and how to resolve it.

Still need to purchase your D7100, D7000, D5200 or D600.  Please use my links to have a look at them on Amazon:

Nikon D7100 24.1 megapixel DX format dSLR camera

Nikon D7000 16.2 megapixel DX format dSLR camera

Nikon D600 24.3 megapixel full-frame FX format dSLR camera

Nikon D5200 24.2 megapixel DX format dSLR camera

Was this post helpful?  Please let others know about it by clicking the Facebook or Twitter sharing buttons below, linking to it from your blog or website, or mentioning it on a forum.  Thanks!  Want to help support this blog with no cost or effort?  Simply click on the Amazon, B&H Photo, or Adorama logos on the left side of this page to go to those sites and make your purchases.  They will then give me a little referral bonus!

edit 3012-05-07: While this post was originally written for the Nikon D5100, all of these tips also apply to the D5200.  So while I work on an updated Nikon D5200 Tips and Tricks post, start out by making use of these tips.  And of course, they all still apply to the D5100.

nikon d5100 autofocus af system use learn tips tricks how to
Detail of the Nikon D5100

nikon d5200 autofocus af system use learn tips tricks how to dummies guide manual instruction tips tricks
Detail of the Nikon D5200

I’ve spent quite a bit of time with the Nikon D5100 as I researched and wrote my eBook user’s guide Nikon D5100 Experience (and now Nikon D5200 Experience also!), and here are some of the handy “tips and tricks” I’ve learned that may prove useful for you as you set up and use your D5100.  This camera has many features, Menu settings and Custom Settings you can use to make it operate how you want it to and to match your needs and shooting style, so it is worth-while to learn them and/ or to set them up according to your preferences.  For example, in no particular order:

1. Change the Flash Mode and Flash Exposure Compensation Quickly: You can quickly set your desired Flash Mode and then adjust the amount of Flash Exposure Compensation with the press of a button or two and the Command Dial.  Press the Flash Mode Button to raise the flash in P, A, S, or M mode, then press and hold it and turn the Command Dial to change the Flash Mode (Fill Flash, Red-Eye Reduction, Rear-Curtain Sync, etc.).  Press the Flash Mode Button (also the Flash Compensation Button) and the Exposure Compensation Button and turn the Command Dial, and you can quickly change the Flash Compensation as you view it on the Information Display Screen.

Nikon D5100 tips tricks book guide manual instruction user guide for dummies experience
Top of the Nikon D5100 with flash settings controls

2. Assign the Function (Fn) Button: You can use Custom Setting f2 to assign a different function to the Function (Fn) Button than the default Self-Timer setting.  Figure out which setting you change most often or need handy at your fingertips.  Some that I think are most useful are ISO Sensitivity, White Balance, or Auto Bracketing. You can also assign it to +RAW so that if you are shooting in JPEG but have a great image you want an NEF(RAW) copy of also, press the Fn Button first then take the photo, and you will save a copy of the image in both formats.

3. Adjust the Auto Off Timers: Use Custom Setting c2 to set how long the various displays stay visible on the rear LCD Monitor.  Though it may be convenient for them to stay on a long while, that will drain your battery more quickly.  But if they turn off too soon, it is annoying and could affect your shooting in a demanding situation.  So find a happy compromise.  You can set them all to stay on for a reasonable length by setting for NORM, or you can adjust them individually.  My preference is Playback/ menus 20s or 1min; Image review 4s or 8s; Live View 3 min or 5 min; Auto meter-off 20s or 1 min.  The first person to leave a comment on this post correctly telling the difference between Playback and Image Review will get a FREE copy of my latest eBook user’s guide for the Nikon D5100 called Nikon D5100 Experience! See later in this post for more info on this user’s guide – the only guide currently available for the Nikon D5100!

Custom Setting c2 – Auto-off timers

4. See if You Have Over-Exposed Your Highlights: You have to tell the camera which playback views you would like the option of seeing when you look at your images on the rear LCD Monitor, and thus be able to view your histograms and over-exposed highlights.  In the Playback Menu under Playback Display Options, check the ones you want to be able to view.  Two of the most important ones are Highlights and Overview.  These two will let you know if you’ve blown-out (over-exposed) your highlights.  The Highlights view will do this by having those areas of your image blink.  The Overview view will show you by displaying the histogram, which will show you if your highlights or shadows have run off the graph, indicating that those areas of the image contain no detail in the highlights or shadows other than pure white or pure black.

Overview playback view showing the histogram – (note you should set your JPEGs for FINE not NORMAL as I realized the camera default is set at)

5. Set a Precise Fluorescent White Balance: When you change the White Balance (WB) setting using the i Button and Information Display Screen, you can choose from several white balance options including Fluorescent White Balance.  However, there are several types of fluorescent light bulbs ranging in temperature from perhaps 3,000K to 6,5000K.  To tell the camera which one to adjust for, you have to go behind the scenes to the WB options in the Shooting Menu.  There you can set which fluorescent option to use, such as Warm-white or Cool-white.  You can also access this menu item to set your own custom Preset White Balance using a couple different methods.

6. Put Your Most Used Settings in My Menu: Instead of digging into the menus and Custom Settings all the time to find your most used settings, such as the White Balance settings just described, you can create your own custom menu called My Menu, which is then quickly and easily accessed with the Menu Button.  You can even decide what order to list the items in.  Some possible items to add could be perhaps auto bracketing or HDR if you often make use of those.

Brief Commercial Interruption: How did I learn all these useful and convenient settings?  I just completed an eBook user’s guide for the Nikon D5100 called Nikon D5100 Experience. (and now Nikon D5200 Experience also). Following in the footsteps of my bestselling Nikon D7000 Experience, these guides cover all the Menus, Custom  Settings, functions and controls of the Nikon D5100 and D5200, focusing modes, exposure modes, shooting modes, white balance, etc., PLUS when and why you want to use them when shooting.  As one reader has said of my previous D7000 guide, “This book, together with the manual, is all you need to start discovering all the camera’s potential.” It will help you to take control of your camera and the images you create!  Learn more about the features and settings discussed in the tips and tricks here and much more.  To read more about them, preview them, and purchase, see my Full Stop bookstore website here!

Nikon D5100 tips tricks book guide manual instruction "for dummies" Experience Douglas Klostermann     Nikon D5200 tips tricks book guide manual instruction dummies Experience Douglas Klostermann
Nikon D5100 Experience eBook user’s guide

7. Lock Your Focus and/ or Your Exposure Settings Before Recomposing Your Shot: When you press and hold the Shutter-Release Button, the focus distance is locked (or you start tracking the subject in AF-C and AF-A modes), but the exposure is determined when the photo is taken. You can customize how this button and the AE-L/AF-L button function so that you can do back-button focusing, lock the exposure, swap the function of the two buttons, or several other options dealing with focus and exposure.

8. Create Images with More Impact Without Photoshop, Using Picture Controls: If you are not going to be processing all your images in Photoshop, Lightroom, Aperture, etc, you can set or create a Picture Control so that your JPEG images (and videos) have the look you want.  Boost the contrast and saturation, or sharpen them a bit.  You can even shoot in black and white or sepia (though it is best to shoot in color and capture an image with all the original information first).  You can save your custom Picture Controls, create your own with the included software, or find ones online then load them on your camera.  Some available online include Picture Controls that mimic the look of roll films such as Kodachrome or Velvia.  But be careful with setting or adjusting Picture Controls if shooting in RAW.  Find out why in my user’s guide!

Adjusting the Picture Control settings

9. Set the ISO Sensitivity Control to Help you out in Difficult Situations: Of course you can adjust the ISO setting on the fly, but you can also set up the camera to automatically adjust some settings if you are in a situation where the lighting changes and the camera determines you will not be able to get the shot without some adjustments to the ISO and/ or shutter speed.   You can set this in the Shooting Menu under ISO Sensitivity Settings, where you can turn this option on, then tell the camera the maximum ISO and minimum shutter speed to use in these situations.  I suggest you set the ISO no higher than 3200 or 6400 if you are willing to accept some noise, and the minimum shutter speed for around 1/30, which you can still hand-hold if careful.  However, if you are carefully metering and adjusting your settings and you don’t like the camera making these types of settings changes without your expressed permission, be sure to turn this setting off.

Setting the ISO Sensitivity Settings

10. Have the Camera Assist You with Manual Focusing: Although digital SLR cameras are designed to be used with their sophisticated autofocus systems, some users prefer to manually focus or are using older manual focus lenses.  And situations such as close up and macro photography sometimes require precise manual focusing.  If you are going to be turning off the autofocus on your camera and lens, you can have the camera assist you in focusing with the Rangefinder.  The camera uses the exposure indicator in the viewfinder to tell you if you are focusing in front of or behind your subject, or if you are in focus.

There are numerous other cool settings you can take advantage of with your D5100 or D5200, including things like Auto Bracketing for Exposure, in-camera HDR, reversing the direction of your Command Dial or exposure indicator, changing the format and color of your Information Display, adjusting your file sizes and types to maximize your maximum continuous burst rate, and determining your best settings for video shooting.  All of these and more are discussed in my e-book user’s guides, Nikon D5100 Experience and Nikon D5200 Experience, both available now.  Learn more about the books, preview them, and purchase at my Full Stop website here. Learn to take control of your camera and the images you create!

Also, please know that there aren’t really any tips or tricks for better photography.  To improve your photography, simply learn your camera inside and out and learn the techniques of dSLR photography (with my e-book!) and then practice, practice, practice taking images, study the results, and look at and learn from the work of talented photographers.

I put together a video and a more in-depth article to introduce and further explain the D5100 autofocus system:

For more detailed information read the article Taking Advantage of the Nikon D5100 Autofocus System.

Still haven’t purchased your Nikon D5100, or need a better lens? Check them out on Amazon below.  I appreciate it if you use these referral links to make your purchase – Amazon will give me a small referral bonus which helps support this blog!  Or use the other camera store links on the left side of this page.  Thanks!

See and buy the Nikon D5100 with 18-55mm Lens on Amazon

See and buy the Nikon D5100 – Body Only on Amazon

Look for a new Nikon Lens on Amazon – I suggest considering the high quality, versatile, all-purpose
Nikon 18-200mm f/3.5-5.6G VR

Was this post helpful?  Please let others know about it by clicking the Facebook or Twitter sharing buttons below, linking to it from your blog or website, or mentioning it on a forum.  Thanks!

In my e-book user’s guide for digital SLRs I include a list of accessories and books, complete with links to purchase these products on Amazon or from the manufacturer. However, the links don’t always work with some e-book formats, so I am posting the list here too. Some accessories may have been updated since this list was last modified, such as the Nikon SB-5000 Speedlight replacing the SB-910, or the Canon 600 EX II-RT Speedlite replacing the 600 EX-RT, so be sure to check for the latest versions of the various accessories.

Below are some accessories that are handy for general and travel photography use with any dSLR camera, plus some of my favorite photography books, and camera-specific accessories mentioned in the texts of my Full Stop camera guides. Click on the links to go to the product or category pages on Amazon.com or the manufacturer’s website. Please note that these are my referral links, and I will receive a small referral fee if you use these links to make your purchases, which helps to support my blog and my work. Thanks!

Contents:

dSLR Photography Accessories
Digital Photography Books

Nikon D850 Accessories
Nikon D500 Accessories
Nikon D750 Accessories
Nikon D810 Accessories
Nikon D7500 / D7200 / D7100 Accessories
Nikon D7000 Accessories
Nikon D5600 / D5500 / D5300 / D5200 / D5100 Accessories
Nikon D610 / D600 Accessories
Nikon Df Accessories
Nikon D3300 Accessories

Canon 5D Mark IV Accessories and 5DS / 5DS R Accessories
Canon 7D Mark II Accessories
Canon 80D / 77D / 70D Accessories
Canon 7D Accessories
Canon 60D Accessories
Canon T5i, T4i, T3i and T2i (EOS 700D, 650D, 600D and 550D) Accessories
Canon 5D Mark III Accessories
Canon 6D Accessories

 


dSLR Photography Accessories

UV Filters – Clear, protective filters for the lenses.  You should have these on at all times to protect your lenses.  Get high quality coated ones, such as B+W, especially for higher quality lenses.   Consider the MRC multi-coated versions for highest quality lenses.  While some argue that any filter may degrade image quality, a high-quality filter will show little effect, and most know that it is cheaper to replace a $100 filter than to repair a $1500 lens.  Use the slim filters for wide angle lenses to avoid vignetting.

Circular Polarizing Filter: Use this outdoors in sunlight to darken the sky, cut through haze and reflections, and increase contrast. Do not use on a wide angle lens as it will cause the sky to change from light to dark and back again across the frame. You have to turn the second ring of the filter to create the amount of lightness or darkness in the sky that you desire, or to reduce or eliminate reflections. It works best when the sun is to your left or right, but does not have any polarizing effect if the sun is directly in front or behind you. Do not use an older linear polarizing filter with a digital camera, as it will interfere with the metering and autofocus systems.

Neutral Density (ND) Filter: If shooting video in bright lighting, you will need to use a dark neutral density (ND) filter on the lens to block light in order to be able to use dramatic wide aperture settings (such as f/ 2.8 or f/4.0). These are also useful with still photography for allowing slow shutter speeds in bright light, such as for photographing waterfalls. They are available in a variety of densities to block out the amount of light to enable you to increase your exposure settings by a certain number of stops, such as 3 stops (0.9), 6 stops (1.8), 10 stops (3.0), etc. For example, when working in M or S mode and the exposure meter reads 1/30s, f/8, ISO 100, but you wish to use and aperture setting of f/2.8 while “holding” the other settings – you can use a 3-stop ND filter and the exposure meter will now read 1/30s, f/2.8, ISO 100, allowing you to obtain the wide aperture setting and resulting shallow depth of field. There are also variable ND filters, where you can adjust one of the filter’s rings to vary the amount of density, as well as the Cokin filter system that makes use of a filter holder that attaches to the front of the lens, which then holds square filters. These are useful to landscape photographers using graduated or split neutral density filters that either gradually or sharply transition from dark to light. Using the square filter in front of the lens, you can then vary the angle and location of the transition to align with the horizon.

Nikon Lens Hoods or Canon Lens Hoods: Use a lens hood on your lens to both prevent flare and to protect the front of the lens when it inevitable bangs against something or drops. Some nicer lenses typically come with a lens hood. With other lenses, buy the corresponding optional hood.

BlackRapid R-Strap: A different, more comfortable way to carry your camera, especially one with a larger or heavier lens. The RS-7 version has a nice curved shoulder strap, the RS-4 is not curved at the shoulder but does have a handy little pocket for memory cards, and the RS-W1 R-Strap is designed for women.

Manfrotto 055XPROB Tripod Legs and Manfrotto 496RC2 Ball Head:  This is an excellent “starter” combination of tripod legs and head for the beginner or enthusiast.  They are sturdy, durable, and well built.  If you know you will be doing a lot of tripod work, such as for studio, landscape, or travel photography, it is best to invest in more advanced (expensive) versions, including lighter carbon fiber legs and a head with additional features.

Insurance: Make sure your equipment is covered by insurance. When I worked in a camera store, people came in on a weekly basis to replace the equipment that was stolen from their car, trunk, luggage, while traveling, or was in a fire. You may need special insurance or a rider if your homeowner or renter’s insurance does not cover it. I use the policy available through NANPA, though you have to join NANPA to get it. This insurance is primarily for the equipment only, so you are not paying for liability coverage geared toward a business as you are with many other photo equipment insurance plans. Please note that the NANPA membership fee covers you annually from July – they don’t pro-rate, so you will not get a full year if you join at any other time. (If you happen to join NANPA to get their insurance, mention my name as a referrer, and I save on my next membership renewal!)

Silica Packs: Keep these in your camera bags to absorb moisture. Consider using real ones that you buy in solid cases instead of the little packs that you found in your new pants pocket that may break open over time.

Sto-Fen Omni Bounce Diffuser: Works great on the optional external flash units (note some Nikon flashes come with a diffuser like this). Do not use this on your flash outdoors because all it will do outside is cause your flash to work harder. I know you see lots of people doing it. They didn’t bother reading how to use it. Don’t imitate them. Use a direct bare or gelled flash outdoors. These diffusers are designed to work as a diffuser when bounced off a surface and angled at 45 degrees or so. Not straight on, and not bouncing off the sky.

Giottos Rocket Air Blaster: Always have this manual air blower handy for getting dust off lenses in a hurry, because blowing on them with your mouth – no matter how careful – inevitably leads to spittle on the lenses. Also use for manually cleaning the sensor, carefully following sensor cleaning instructions.

Dust-Aid Platinum dSLR Sensor Filter Cleaner: If the Air Blaster does not remove all the dust during sensor cleaning, you can move to a “silicon stamp,” such as this one. This is slightly more invasive, as you will be touching the sensor with the cleaning device. Be sure to carefully read and follow the Dust-Aid instructions, as well as the manual’s sensor cleaning instructions, particularly the correct way to raise the mirror and access the sensor.

Lens Pen Cleaning System: Works great for cleaning off mysterious spots and smudges that appear on the lens. Blow dust off the lens first with the Rocket Air Blaster, brush it with the Lens Pen brush, and then follow the instructions for using the Lens Pen.

Digital Grey Card: Used to measure and set accurate custom white balance.

Rosco Strobist Collection Flash Gels: Use these to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single WB setting that neutralizes the color cast of the entire scene. Tape them in place or use the LumiQuest Gel Holder which attaches to your flash with the Honl Speed Strap, an overpriced strip of Velcro.

M Rock Holster Bag: Carry and protect your camera and walk-around lens in a holster style bag from M Rock. I used the Yellowstone style extensively in my travels throughout South America, and I love its durability and extra little features like a built-in rain cover, micro-fiber cleaning cloth, zippered interior pocket, adjustable interior, and extra strap. Be sure to get the model that fits your body and lens.

Sandisk Extreme CF Memory Cards (CompactFlash for Canon 7D, Canon 5D Mk II, 5D Mk III):  I suggest getting a couple 16 GB or 32 GB CF cards to store your photos – more if traveling.  Be sure to check the Sandisk site for current rebates.

Sandisk Extreme Pro CF Memory Cards:  For an even faster CF memory card, look at the Extreme Pro version, which saves at 90MB/s over 60 MB/s of the Extreme CF cards.

SanDisk Extreme Pro UDMA 7 CF Memory Card:  This CF memory card will allow you to take full advantage of the high speed continuous shooting of the 5D Mk III (or the 7D) to capture up to the maximum 16,270 continuous JPEG images or 18 RAW images in a single burst (7D rates are 130 JPEG / 25 RAW).

Sandisk Extreme SD Memory Cards: I suggest getting a couple 16GB, 32GB (class 10), or higher capacity Secure Digital (SD) cards to capture and store your photos – or more cards if traveling. Again, be sure to check the Sandisk site for current rebates. The Extreme SD cards are currently available in the 45 MB/s speed and the faster 80 MB/s speed.

Sandisk Extreme Pro UHS-1 SD Memory Cards: To take full advantage of the Continuous Shooting Drive Mode of the 70D and capture up to the maximum 65 continuous JPEG images or 16 RAW images in a single burst, you will need one of the fast Sandisk Extreme Pro UHS-1 SD Memory Cards (or similar card from another brand), which saves at 95MB/s.

Eye-Fi Wireless Flash Memory Card: This SD memory card can be used to automatically upload photos wirelessly via Wi-Fi to your computer during shooting or afterwards.

Card Reader: Use this to transfer image files from the memory cards to your computer if your computer does not have a card reader built in. They may be faster than the camera’s USB cable and will save camera batteries.

Stereo Microphones: The Rode VideoMic or the Rode VideoMic Pro are good-quality affordable external stereo microphones for recording audio while shooting video. They mount to the camera’s Hot Shoe.

Camera’s USB Cable: Always have the included camera USB cable when traveling, as a back-up method of transferring image files to your computer.

Lens and Body Caps: Don’t forget to have these in your camera bag, to protect lenses and camera body when switching and storing them.

Camera Wrap: For protecting your camera while carrying it around in dusty, misty, or sandy situations, or for protection when storing it.

Rainhood or Rainsleeve: For protecting your camera while using it in dusty, misty, rainy, or sandy situations.

Adobe Photoshop CS6 or new Adobe C.C., and/ or Adobe Lightroom 5: These software programs are essential for editing, processing, retouching, and manipulating your photographs, especially if you are shooting in RAW. Lightroom is designed specifically for photographers and is the processing program of choice for many of them, but it does not have the manipulation capabilities of Photoshop. Take advantage of Adobe’s significant student and teacher discounts if applicable.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.

Camera Bags and Travel Gear: For additional gear that is helpful for travel situations, including various camera bags for different situations, have a look at my travel gear blog post:

http://blog.dojoklo.com/2009/12/01/assignment-guatemala-gear/


Digital Photography Books

Understanding Exposure: How to Shoot Great Photos with Any Camera by Bryan Peterson

Learning to See Creatively: Design, Color & Composition in Photography by Bryan Peterson

The Photographer’s Eye: Composition and Design for Better Digital Photos by Michael Freeman

The Photographer’s Mind: Creative Thinking for Better Digital Photos by Michael Freeman

Available Light: Photographic Techniques for Using Existing Light Sources by Don Marr

On-Camera Flash Techniques for Digital Wedding and Portrait Photography by Neil van Niekerk

Speedliter’s Handbook: Learning to Craft Light with Canon Speedlites by Syl Arena

Digital Photographer’s Complete Guide to HD Video by Rob Sheppard and Michael Gunchen.

Canon Speedlite System Digital Field Guide by Michael Corsentino

Nikon Speedlight Handbook: Flash Techniques for Digital Photographers by Stephanie Zettl

The New Complete Guide to Digital Photography by Michael Freeman – a comprehensive general reference guide with brief explanations of nearly every aspect of digital photography.

New Epson Complete Guide to Digital Printing by Rob Sheppard.

More Essential Digital Photography Books are listed in this post.

 


Nikon D850 Accessories

Nikon D850 User’s Manuals – For PDF downloads of the Nikon D850 User’s Manual and D850 Menu Guide, see the webpage and below:

http://downloadcenter.nikonimglib.com/en/products/359/D850.html

Nikon EN-EL15a Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D18 Battery Pack/ Grip: This accessory will enable you to use an additional EN-EL15a battery, or eight alkaline, lithium, or Ni-MH AA batteries, or an EN-EL18 battery with the use of the optional BL-5 Battery Chamber Cover. This allows you to shoot longer without having to change batteries, and can allow you to share EN-EL18 batteries with the Nikon D5 body. It also increases the size of the D850 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation. There is also an MB-D18 Battery Pack kit that comes with the battery pack, plus the BL-5 Cover and an EN-EL18b battery.

MC-30 Remote Release Cord: This corded remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

WR-T10/ WR-R10 /WR-A10 Wireless Remote Controller, Transceiver, and Adapter: This wireless remote set will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-910 or Nikon SB-700 Speedlight Flash: These external flashes will give you significant flash power and control over output and direction. They have adjustable and rotating heads so that you can use indirect and bounce flash. They can also be used as commanders to trigger remote Speedlight flashes.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-7 Wireless Transmitter: This can be used to wirelessly transmit your images and videos to an FTP server, computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. It also offers a wired Ethernet port for a wired (tethered) connection. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection, which allows you to remotely change numerous camera settings. However for certain situations and uses, an Eye-Fi SD memory card may be a more convenient and less expensive solution for wireless transmission of full sized images.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time. Remember that you can also make use of the camera’s wireless capabilities to add time and location data from your smart phone to the images on the camera, and thus perform similar capabilities as a GPS device.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as a BeachTek dSLR audio adapter, or an external audio recorder such as the Zoom H6 Portable Recorder.

Nikon ES-2 Film Digitizing Adapter Set: This accessory for digitizing negatives using your camera includes holders for 35mm film strips and slides, and attaches to the AF-S Micro 60mm f/2.8G ED lens. This can be used with the Negative Digitizer feature of the D850 (accessed via the Live View i Button Menu), to more easily “scan” your negatives.

Nikon Capture NX-D: If you are not using Photoshop or Lightroom, this software will enable you to process and retouch your JPEG or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website. (http://nikonimglib.com/ncnxd/)

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the camera to an HDMI CEC compatible TV (or other external HDMI device), and then view images, slideshows, or video from the camera. By accessing the Setup Menu item HDMI > Device control > On, you will also be able to then control the image playback using the TV remote.

 


Nikon D500 Accessories

Nikon EN-EL15 Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event. Be sure to use the newer Li-Ion20 type of EN-EL15 battery for best results. Nikon will replace your older EN-EL15 Li-ion01 batteries with the newer version, for free. See this link for further information:

https://support.nikonusa.com/app/answers/detail/a_id/19541

Nikon MB-D17 Battery Pack/ Grip: This accessory will enable you to use an additional EN-EL15 battery, or eight alkaline, lithium, or Ni-MH AA batteries, or an EN-EL18 battery with the use of the optional BL-5 Battery Chamber Cover. This allows you to shoot longer without having to change batteries, and can allow you to share EN-EL18 batteries with the Nikon D5 body. It also increases the size of the D500 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

MC-30 Remote Release Cord: This corded remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

WR-T10/ WR-R10 /WR-A10 Wireless Remote Controller, Transceiver, and Adapter: This wireless remote set will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-910 or Nikon SB-700 Speedlight Flash: These external flashes will give you significant flash power and control over output and direction. They have adjustable and rotating heads so that you can use indirect and bounce flash. They can also be used as commanders to trigger remote Speedlight flashes.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-7A Wireless Transmitter: This can be used to wirelessly transmit your images and videos to an FTP server, computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. It also offers a wired Ethernet port for a wired (tethered) connection. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection, which allows you to remotely change numerous camera settings. However for certain situations and uses, an Eye-Fi SD memory card may be a more convenient and less expensive solution for wireless transmission of full sized images.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time. Remember that you can also make use of the camera’s wireless capabilities to add time and location data from your smart phone to the images on the camera, and thus perform similar capabilities as a GPS device.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as one of the BeachTek Audio Adapters, or an external audio recorder such as the Zoom H6 Portable Recorder.

Nikon Capture NX-D: If you are not using Photoshop or Lightroom, this software will enable you to process and retouch your JPEG or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website: http://nikonimglib.com/ncnxd/#

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the camera to an HDMI CEC compatible TV (or other external HDMI device), and then view images, slideshows, or video from the camera. By accessing the Setup Menu item HDMI > Device control > On, you will also be able to then control the image playback using the TV remote.

Lexar 64GB Professional 2933x XQD card: The maximum continuous burst capacity specifications given by Nikon for the D500 are based on the use of this card. When set for RAW L image files and DX Image Area, this XQD card can capture up to the maximum 200 14-bit lossless compressed or 12-bit uncompressed images, without filling the buffer and having to pause. Sony also offers numerous XQD cards that are compatible with the D500, as listed on page 385 of the Nikon D500 User’s Manual.

SanDisk Extreme Pro UHS-II 280MBs SD: This is a very fast SD type card that appears to be working well with the D500. There have been issues reported with SD cards from Lexar and Transcend, which are caused by the card and not the camera. Nikon has released a firmware update that creates a workaround for errors when using a problematic UHS-II card, though it reverts to using it as a slower UHS-I card. The memory card manufacturers are working to resolve this issue.


Nikon D750 Accessories

Nikon EN-EL15 Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D16 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use six AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D750 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

MC-DC2 Remote Release Cord: This corded remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: This wireless remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-910 or Nikon SB-700 Speedlight Flash: These external flashes will give you significant flash power and control over output and direction. They have adjustable and rotating heads so that you can use indirect and bounce flash. They can also be used as commanders to trigger remote Speedlight flashes.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-5A Wireless Transmitter with the Nikon UT-1 Communication Unit: These can be used together to wirelessly transmit your images to a computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. The two units can also be purchased together: WT-5A and UT-1. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection. The Nikon UT-1 Communication Unit when used alone will allow you to connect the camera to a computer or FTP server via an Ethernet cable, rather than wirelessly. However for certain situations and uses, an Eye-Fi SD memory card may be a more convenient and less expensive solution for wireless transmission.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as the BeachTek DXA-SLR Pro Audio Adapter, or Mini Pro version, or an external audio recorder such as the Zoom H6 Portable Recorder.

Nikon Capture NX-D: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website: http://nikonimglib.com/ncnxd/#

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the camera to an HDMI CEC compatible TV (or other external HDMI device), and then view images, slideshows, or video from the camera. By accessing the Setup Menu item HDMI > Device control > On, you will also be able to then control the image playback using the TV remote.


Nikon D810 Accessories

Nikon EN-EL15 Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D12 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use eight AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D810 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation. And its use with AA batteries will enable the maximum 7 frames per second continuous shooting speed when using DX Image Area. If you wish to use the larger EN-EL18 battery (used with the D4 body) with this MB-D12 battery grip, you can purchase the optional BL-5 Battery Chamber Cover which accepts the EN-EL18 battery.

MC-DC2 Remote Release Cord: This corded remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

MC-30A Remote Release Cord: Another basic corded remote release, with a larger thumb button that enables you to hold it down to keep the shutter open for Bulb shooting.

MC-36a Remote Shutter Release Cord: A multi-function corded remote for shutter release with an intervalometer, which attaches via the ten-pin connector.

WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: This wireless remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and thus does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

Nikon SB-910 or Nikon SB-700 Speedlight Flash: These external flashes will give you significant flash power and control over output and direction. They have adjustable and rotating heads so that you can use indirect and bounce flash. They can also be used as commanders to trigger remote Speedlight flashes.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WT-5A Wireless Transmitter with the Nikon UT-1 Communication Unit: These can be used together to wirelessly transmit your images to a computer, tablet, or smart-phone as you shoot, or even use the computer or smart device to remotely and wirelessly release the camera’s shutter. The two units can also be purchased together: WT-5A and UT-1. You will also need Nikon’s Camera Control Pro 2 software for the tethered or wireless computer connection. The Nikon UT-1 Communication Unit when used alone will allow you to connect the camera to a computer or FTP sever via an Ethernet cable, rather than wirelessly. However for certain situations and uses, an Eye-Fi SD memory card may be more convenient and less expensive.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera. More advanced (expensive) models and lavalier mics are recommended for professional use, along with an audio mixer such as the BeachTek DXA-SLR Pro Audio Adapter, or Mini Pro version, or an external audio recorder such as the Zoom H6 Portable Recorder.

Nikon Capture NX-D: If you are not using Photoshop, this software will enable you to process and retouch your JPEG, TIFF, or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website: http://nikonimglib.com/ncnxd/#

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the camera to an HDMI CEC compatible TV, and then view images and slideshows from the camera. By accessing the Setup Menu item HDMI > Device control > On, you will also be able to then control the image playback using the TV remote.

Nikon D810 dSLR Filmmaker’s Kit: This package, costing about $5,000, includes the D810 camera plus everything one needs to get started with dSLR HD filmmaking. In addition to the body, the kit includes three prime lenses which are all f/1.8 (35mm, 50mm, 85mm), a video recorder with HDMI cable, the ME-1 Stereo microphone, variable ND filters so that you can take advantage of wide apertures even in brighter lighting, and two EN-EL15 batteries.

Sandisk Extreme CF Memory Cards: I suggest getting a couple 32 GB or higher CompactFlash (CF) cards to store your photos – more if traveling. Be sure to check the Sandisk site for current rebates. This card’s speed is 120 MB/s, so to achieve the buffer rates of the D810 listed in the manual you will need to use the CF card listed just below.

SanDisk Extreme Pro UMDA 7 CF Memory Card: For an even faster CF memory card, look at the Extreme Pro version, which is rated at 160 MB/s, higher than the 120 MB/s speed of the Extreme CF cards. This is the minimum card needed to achieve the buffer capacity rates listed in the D810 manual on page 489.

SanDisk Extreme Pro SDHC UHS-I SD Memory Cards: If you plan to use the camera’s SD card slot, I suggest getting a couple 32GB or higher capacity Secure Digital (SD) cards to capture and store your photos – more if traveling. Review the various ways that the camera’s two memory card slots can be used with the Primary slot selection and Secondary slot function items of the Shooting Menu. Again, be sure to check the SanDisk site for current rebates. This card is rated at 95 MB/s speed, so you may need the above CF card to achieve the maximum the buffer capacity of the D810.


Nikon D7500 / D7200 / D7100 Accessories

Nikon EN-EL15 Rechargable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D15 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D7100 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Nikon ML-L3 Wireless Remote Controller or WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: These wireless remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and thus does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The new WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 unit.

MC-DC2 Remote Release Cord: This remote will allow you to trigger the shutter of the camera remotely, but is attached to the camera via a cable, rather than being wireless.

Nikon SB-910 (or SB-900, SB-800, SB-700, SB-600, SB-500) Speedlight Flash: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash, and with the exception of the SB-600 all can be used as commanders to trigger remote flashes.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

Nikon WU-1a Wireless Mobile Adapter: This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, share your images, or even use your smart phone or tablet to remotely release the camera’s shutter – all with Nikon’s Wireless Mobile Adapter Utility app:

http://nikonasia-en.custhelp.com/app/answers/detail/a_id/7494/~/wireless-mobile-adaptor-utility-download

Nikon GP-1 GPS Unit: / GP-1A GPS Unit (check compatibly with your camera here.) Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

Nikon ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. Other options include the Rode VideoMic or the Rode VideoMic Pro, which are good-quality affordable external stereo microphones for recording audio while shooting video. They mount to the camera’s Hot Shoe.

UT-1 Communication Unit: This unit is used with an Ethernet cable or wirelessly with the WT-5a Wireless Transmitter to connect to a network and transfer images to a computer or server, or to control the camera remotely from your computer. You can also purchase these two units, the UT-1 and WT-5a as a bundle.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.


Nikon D7000 Accessories

Nikon EN-EL15 Rechargable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D11 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D7000 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Nikon ML-L3 Wireless Remote or MC-DC2 Remote Release Cord: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Nikon SB-910, SB-900, SB-800, SB-700, or SB-600 Speedlight Flashes: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash, and with the exception of the SB-600 all can be used as commanders to trigger remote flashes.

Nikon WT-4A Wireless Transmitter: This can be used to wirelessly transmit your images to a computer as you shoot. However for certain situations and uses, an Eye-Fi SD memory card may be more convenient.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.


Nikon D5600 / D5500 / D5300 / D5200 / D5100 Accessories

Nikon EN-EL14a Rechargable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Battery Pack/ Grip: This third-party accessory will enable you to use two EN-EL14a batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D5600 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Grip Base Extension: There is also a third-party non-battery-pack grip, or grip base extender that is designed to simply enlarge the size of the body in order to make the camera easier to hold for some users, but does not hold additional batteries.

Nikon ML-L3 Wireless Remote Controller or WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: These wireless remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and thus does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter.

MC-DC2 Remote Release Cord: This remote will allow you to trigger the shutter of the camera remotely, but is attached to the camera via a cable, rather than being wireless.

Nikon GP-1 or GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

Nikon SB-910 or SB-700 Speedlight Flash: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. And they can be used as commanders to control and trigger multiple remote flashes.

Nikon WU-1a Wireless Mobile Adapter: (Nikon D5200, D7100, D3200 and later cameras only) This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, share your images, or even use your smart phone or tablet to remotely release the camera’s shutter – all with Nikon’s Wireless Mobile Adapter Utility app:

http://nikonasia-en.custhelp.com/app/answers/detail/a_id/7494/~/wireless-mobile-adaptor-utility-download

Nikon GP-1 GPS Unit: / GP-1A GPS Unit (check compatibly with your camera here.) (Not needed for D5300) Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time. Using this accessory, you images will also be automatically located on a map, such as when uploaded to the Flickr photo website.

ME-1 Stereo Microphone or ME-W1 Wireless Microphone: External, stereo mics to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera.

Nikon Capture NX-D: If you are not using Photoshop or Lightroom, this software will enable you to process and retouch your JPEG or RAW files, and make image adjustments such as color, contrast, sharpening, and noise. This free software is available for download from the Nikon website: http://nikonimglib.com/ncnxd/#

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the D5600 to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By accessing the Playback Menu item HDMI > Device control > On, you will also be able to then control the image or video playback using the TV remote. Note that movies may not display properly, depending on the Frame size / Frame rate settings at which they were recorded.


Nikon D610 / D600 Accessories

Nikon EN-EL15 Rechargable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Nikon MB-D14 Battery Pack/ Grip: This accessory will enable you to use a second EN-EL15 battery or else use AA batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D600 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Nikon ML-L3 Wireless Remote or MC-DC2 Remote Release Cord: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Nikon SB-910 (or SB-900, SB-800, SB-700, SB-600, SB-500) Speedlight Flash: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash, and with the exception of the SB-600 all can be used as commanders to trigger remote flashes.

Nikon SB-5000 Speedlight Flash: In addition to offering all the functions of the above flash units, this top of the line Nikon Speedlight offers optical wireless control, as well as wireless radio control (when used with using the WR-A10 Wireless Remote Adapter and WR-R10 Wireless Remote Controller). The radio control can be triggered nearly 100 feet away and does not require line-of-sight. The flash also contains a cooling system that will allow 100 or more consecutive shots at full power.

Nikon WU-1b Wireless Mobile Adapter: This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, or even use the smart device to remotely release the shutter. However for certain situations and uses, an Eye-Fi SD memory card may be more convenient.

Nikon GP-1 GPS Unit: / GP-1A GPS Unit (check compatibly with your camera here.) Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.


Nikon Df Accessories

Nikon Df User’s Manual – For a PDF download of the Nikon Df manual, see the webpage below:

https://support.nikonusa.com/app/answers/detail/a_id/18767

AF-S NIKKOR 50mm f/1.8G Special Edition Lens: This lens, with its silver ring, is specifically designed to match the retro-style of the Df – though it contains the same optics of the non-special AF-S 50mm f/1.8 lens.

Nikon EN-EL14a Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: This wireless remote will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and thus does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The new WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 units.

AR-3 Cable Release Cord: This remote will allow you to trigger the shutter of the camera remotely, but is attached to the camera via a cable, rather than being wireless. In keeping with the styling of the Df, it is a “retro” cable-release with a plunger.

MC-DC2 Remote Release Cord: This is also a straightforward corded remote used to trigger the shutter of the camera, and is plugged into the Accessory Terminal of the Df.

Nikon SB-910 or Nikon SB-700 Speedlight Flash: These external flashes will give you significant flash power and control over output and direction. They have adjustable and rotating heads so that you can use indirect and bounce flash. They can also be used as commanders to trigger remote Speedlight flashes.

Nikon SB-400 Speedlight: This is a much smaller and less powerful flash than the versatile SB-910, and is closer to the strength of a typical built-in flash. However you can angle it for bounce-flash purposes.

SU-800 Wireless Speedlight Commander: This unit is mounted on the camera’s hot shoe, and will allow you to wirelessly control and trigger one or multiple remote Speedlights.

Nikon WU-1a Wireless Mobile Adapter: This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, share your images, or even use your smart phone or tablet to remotely autofocus and release the camera’s shutter.

Wireless Mobile Utility: To get started with Wi-Fi, you will also need to download Nikon’s Wireless Mobile Utility app, which is available for both iOS and Android. Note that the iPad app is available as an “iPhone Only” app in the Apple App Store, though it can still be used on the iPad. You can find links to both versions of the app below, along with links to both versions of the Wireless Mobile Utility User’s Manuals:

http://nikonasia-en.custhelp.com/app/answers/detail/a_id/7494/~/wireless-mobile-adaptor-utility-download

Nikon GP-1A GPS Unit: Use this GPS receiver for automatic geotagging of your images including location, altitude data, and UTC time.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, sharpening, and noise. This version is in the process of being replaced with Capture NX-D.

CF-DC6 Semi-Soft Case or CF-DC5 Semi-Soft Case: The CF-DC6 is a retro-styled leatherette case specially designed for the Df, and is available in Black or in light Brown. The CF-DC5 is of a more contemporary style and materials.

Leather Strap in Black or in Brown: You can pair the retro-styled CF-DC6 case with a leather strap, available in similar colors.

Gariz Leather Half-Case: There is also a very nice looking leather half-case by a third-party named Gariz. It is available in black and brown, and covers the grip area and lower part of the Df body, but also allows you to open and access the battery/ memory card compartment and the side terminal covers, without removing the case. It lengthens the body of the camera in order to provide a replacement tripod socket (since the camera’s is used for attaching the case), and perhaps to enlarge the camera to offer a better grip.

Screen Protectors: This pair of screen protectors is specifically sized for the LCD screens of the Df. While I have not personally used them, and thus cannot vouch for their quality or usefulness, previous versions of this brand have gained good reviews.

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the Df to an HDMI CEC compatible TV, and then view images and slideshows from the camera. By accessing the Setup Menu item HDMI > Device control > On, you will also be able to then control the image playback using the TV remote.


Nikon D3300 Accessories

Nikon D3300 Manuals: The D3300 Reference Manual can be obtained as a PDF file from the Nikon website at this link:

https://support.nikonusa.com/app/answers/detail/a_id/18824

Nikon WU-1a Wireless Mobile Adapter: This can be used to wirelessly transmit your images to a tablet or smart-phone as you shoot, to share your images, or even to use your smart phone or tablet to remotely release the camera’s shutter – all with Nikon’s Wireless Mobile Adapter Utility app.

Wireless Mobile Utility:To get started with Wi-Fi, you will first need to download Nikon’s Wireless Mobile Utility app, which is available for both iOS and Android. Note that the iPad app is available as an “iPhone Only” app in the Apple App Store, though it can still be used on the iPad. You can find links to both versions of the app below, along with links to both versions of the Wireless Mobile Utility User’s Manuals:

http://nikonasia-en.custhelp.com/app/answers/detail/a_id/7494/~/wireless-mobile-adaptor-utility-download

Nikon EN-EL14a Rechargeable Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Battery Pack/ Grip: This third-party accessory will enable you to use two EN-EL14a batteries, thus allowing you to shoot longer without having to change batteries. It also increases the size of the D3300 body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Nikon ML-L3 Wireless Remote Controller or WR-R10/ WR-T10 Wireless Remote Controller and Transceiver: These wireless remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. The WR set communicates via radio frequencies, and thus does not require direct line-of-sight between the camera and the remote. You can even use multiple WR-R10 receivers on multiple cameras and trigger them simultaneously with one WR-T10 remote transmitter. The new WR-1 Wireless Remote Controller will allow even greater wireless control over one or multiple cameras with their own WR-1 or WR-R10 unit.

MC-DC2 Remote Release Cord: This remote will allow you to trigger the shutter of the camera remotely, but is attached to the camera via a cable, rather than being wireless.

DK-5 Eyepiece Cap:When using any of the Release Modes such as Self-Timer or Remote, where your eye is not at the Viewfinder, be sure to cover the Viewfinder with a piece of tape or this optional eyepiece cap in order to prevent stray light from entering the camera and modifying the exposure settings.

Nikon SB-910 or SB-700 Speedlight Flash: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. And they can be used as remote flashes triggered by the built-in flash, and as commanders to control and trigger multiple remote flashes.

ME-1 Stereo Microphone: An external, stereo mic to record much better sound during movie shooting that the built-in mic. The Rode VideoMic or the Rode VideoMic Pro are also good-quality affordable external stereo microphones for recording audio while shooting video. They each mount to the camera’s Hot Shoe and connect via the External Microphone connector terminal on the side of the camera.

Nikon Capture NX2: If you are not using Photoshop, this software will enable you to process and retouch your JPEG or RAW files, and correct things such color, contrast, and sharpening.

High-Speed A to C Type, HDMI to Mini-HDMI Cable: Use this HDMI cable to connect the D3300 to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By accessing the Playback Menu item HDMI > Device control > On, you will also be able to then control the image or video playback using the TV remote. Note that movies may not display properly, depending on the Frame size / Frame rate settings at which they were recorded.



Canon 5D Mark IV Accessories and Canon 5DS / 5DS R Accessories

Canon LP-E6N Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E20 Battery Grip: This optional battery pack and grip for the 5DIV will enable you to use two LP-E6N batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 5D Mark IV body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon Remote Switch RS-80N3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. There is also the Timer Remote Controller TC-80N3 for time-lapse or long exposure photography.

Canon Speedlite 600EX II-RT: This external flash will give you the most flash power and control of the Canon Speedlites, as well as continuous shooting support. It has an adjustable and rotating head so that you can use indirect and bounce flash, and includes a diffuser plus color filters for white balance. The 600EX II-RT also allows optical wireless functionality plus is compatible with the radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Speedlite Transmitter ST-E3-RT: Use this radio wave wireless transmitter to control and trigger up to 5 groups of 15 flashes, up to 30 meters, with no line-of-site required. Compatible with the Canon 600EX II-RT Speedlite.

Note that either the 600EX II-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 5D Mark IV. If either one of these units is in the Hot Shoe of the 5D Mark IV, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Speedlite 430EX III-RT or Speedlite 320EX: These external flashes will provide less flash power and control, and fewer features than the top of the line 600EX II-RT, however they may meet your needs if you don’t make extensive use of a flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. The 430EX III-RT allows optical wireless functionality plus is compatible with Canon’s radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT or a 600EX II-RT. The 430EX III-RT offers an optional bounce adapter and color filter. The 320EX has a built in LED light for lighting video.

Canon HTC-100 HDMI cable: Use this HDMI cable to connect the 5D Mark IV to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By setting the Control over HDMI menu item to Enable (Playback 3 Menu), you will also be able to then control the image or video playback using the TV remote.

WFT-E7A Wireless File Transmitter Version 2: This optional device enables fast wireless or wired Ethernet transfer of images from the camera to a computer or smart device such as an iPad or tablet. It also offers remote control and linked shooting capabilities, and offers built-in Bluetooth function.


Canon 7D Mark II Accessories

Canon LP-E6N Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E16 Battery Grip: This optional battery pack and grip will enable you to use two LP-E6N batteries or six AA/ LR6 batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 7D Mark II body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon Remote Switch RS-80N3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. There is also the Timer Remote Controller TC-80N3 for time-lapse or long exposure photography.

Canon Speedlite 600EX-RT: This most recently introduced external flash will give you the most flash power and control of the Canon Speedlites. It has an adjustable and rotating head so that you can use indirect and bounce flash, and is compatible with a specially designed color filter holder and gels (see below). The 600EX-RT also allows infrared wireless functionality plus is compatible with the new radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Speedlite Transmitter ST-E3-RT: Use this radio wave wireless transmitter to control and trigger up to 5 groups of 15 flashes, up to 30 meters, with no line-of-site required. Currently only compatible with the Canon 600EX-RT Speedlite.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 7D Mark II. If either one of these units is in the Hot Shoe of the 7D Mark II, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon SCH-E1 Color Filter Holder: This plastic holder attaches to the front of the 600EX-RT Speedlite and holds the gels of the Canon Color Filter Set. Use these filters (gels) to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single White Balance setting that neutralizes the color cast of the entire scene.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you varying levels of flash power and control, with the 580EX II being the most powerful of the group. They also have adjustable and rotating heads so that you can use indirect and bounce flash. The 320EX also has a built in LED light for lighting video. To attach color filters to these models see the Rosco Strobist Collection Flash Gels section below.

Canon HTC-100 HDMI cable: Use this HDMI cable to connect the 7D Mark II to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By setting the Control over HDMI menu item to Enable (Playback 3 Menu), you will also be able to then control the image or video playback using the TV remote.

WFT-E7A Wireless File Transmitter Version 2: This optional device enables fast wireless or wired Ethernet transfer of images from the camera to a computer or smart device such as an iPad or tablet. It also offers remote control and linked shooting capabilities, and offers built-in Bluetooth function. The device attaches to the base of the 7D Mark II, and is a similar size and shape as the optional battery grip.

Eh-S Super Precision Matte Focusing Screen: The 7D Mark II is able to accept this optional focusing screen, which is designed for manual focusing. However, you will need to be using a lens with a maximum aperture of f/2.8 or larger, or else it will make the Viewfinder appear darker than the standard focusing screen. This screen will display the out-of-focus areas of the scene more dramatically out-of-focus, thus helping you to better view what is in-focus. Be sure to change the C.Fn 3 Custom Function item of the Focusing Screen for Eh-S, if you make use of this screen.

 


Canon 80D / 77D / 70D Accessories

Canon LP-E6 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E14 Battery Grip: This optional battery pack and grip will enable you to use two LP-E6 batteries or six AA/ CR6 batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 70D body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon GP-E2 GPS Receiver: Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time.

Canon Remote Switch RS-80N3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. There is also the Timer Remote Controller TC-80N3 for time-lapse or long exposure photography.

Canon Speedlite 600EX-RT: This most recently introduced external flash will give you the most flash power and control of the Canon Speedlites. It has an adjustable and rotating head so that you can use indirect and bounce flash, and is compatible with a specially designed color filter holder and gels (see below). The 600EX-RT also allows infrared wireless functionality plus is compatible with the new radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Speedlite Transmitter ST-E3-RT: Use this radio wave wireless transmitter to control and trigger up to 5 groups of 15 flashes, up to 30 meters, with no line-of-site required. Currently only compatible with the Canon 600EX-RT Speedlite.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 70D. If either one of these units is in the hotshoe of the 70D, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon SCH-E1 Color Filter Holder: This plastic holder attaches to the front of the 600EX-RT Speedlite and holds the gels of the Canon Color Filter Set. Use these filters (gels) to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single White Balance setting that neutralizes the color cast of the entire scene.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you varying levels of flash power and control, with the 580EX II being the most powerful of the group. They also have adjustable and rotating heads so that you can use indirect and bounce flash. The 320EX also has a built in LED light for lighting video. To attach color filters to these models see the Rosco Strobist Collection Flash Gels section just above.

Canon HTC-100 HDMI cable: Use this HDMI cable to connect the 70D to an HDMI CEC compatible TV, and then view movies, images, and slideshows from the camera. By setting the Control over HDMI menu item to Enable (Playback 3 menu), you will also be able to then control the image or video playback using the TV remote. Use the Canon AVC-DC400ST Stereo AV cable for non-HD TV sets.


Canon 7D Accessories (see also the Canon 5D Mark III Accessories section for the new Canon 600EX-RT flash and its accessories)

Canon LP-E6 Battery:  It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E7 Battery Grip:   This accessory will enable you to use two LP-E6 batteries, (or else use six AA batteries), thus allowing you to shoot longer without having to change batteries.  It also increases the size of the 7D body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Canon Remote Switch RS-60E3 or Canon Wireless Remote Control RC-6:  These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash. The 320EX also has a built in LED light for lighting video.  (see also the Canon 5D Mark III Accessories section for the new Canon 600EX-RT flash and its accessories).

Canon WFT-E5A Wireless File Transmitter:  Use this accessory to wirelessly transmit your images from the camera to a computer over a Wi-Fi or Gigabit Ethernet connection.  It can also be used to wirelessly control the camera via a web-enabled mobile device.

Canon GP-E2 GPS Receiver:  Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time.


Canon 60D Accessories (see also the 5D Mark III section for the new Canon 600EX-RT flash and its accessories)

Canon LP-E6 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E9 Battery Grip: This accessory will enable you to use two LP-E6 batteries, (or else use six AA batteries), thus allowing you to shoot longer without having to change batteries. It also increases the size of the 60D body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Canon Remote Switch RS-60E3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash. The 320EX also has a built in LED light for lighting video.

Canon Hand Strap E2: This hand strap provides a more secure grip and allows for easier single hand operation of the camera. It attaches on the right side of the 60D and your right hand slips between it and the camera.

Canon EF-D Focusing Screen: This is the grid focusing screen to help you keep your compositions and horizons straight and level.


Canon Rebel T5i/700D, T4i/650D, T3i/600D, and T2i/550D Accessories

Canon LP-E8 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E8 Battery Grip: This accessory will enable you to use two LP-E8 batteries, (or else use six AA batteries), thus allowing you to shoot longer without having to change batteries. It also increases the size of the camera’s body which may be more comfortable for some shooters, especially when shooting vertically in portrait orientation.

Canon GP-E2 GPS Receiver: Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time.

Canon Remote Switch RS-60E3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.

Canon Speedlite 600EX-RT: This most recently introduced external flash will give you the most flash power and control of the Canon Speedlites. It has an adjustable and rotating head so that you can use indirect and bounce flash, and is compatible with a specially designed color filter holder and gels (see below). The 600EX-RT also allows infrared wireless functionality plus is compatible with the new radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Speedlite Transmitter ST-E3-RT: Use this radio wave wireless transmitter to control and trigger up to 5 groups of 15 flashes, up to 30 meters, with no line-of-site required. Currently only compatible with the Canon 600EX-RT Speedlite.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the T4i. If either one of these units is in the hotshoe of the T4i, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon SCH-E1 Color Filter Holder: This plastic holder attaches to the front of the 600EX-RT Speedlite and holds the gels of the Canon Color Filter Set. Use these filters (gels) to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single White Balance setting that neutralizes the color cast of the entire scene.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you greatly increased flash power and control compared to the built-in flash. They also have adjustable and rotating heads so that you can use indirect and bounce flash. All of them can be used as remote flashes controlled by the built-in flash. The 320EX also has a built in LED light for lighting video.

Canon Hand Strap E2: This hand strap, used with or without the battery grip, provides a more secure grip and allows for easier single hand operation of the camera. It attaches on the right side of the camera and your right hand slips between it and the camera.


Canon EOS 5D Mark III Accessories

Sandisk Extreme CF Memory Cards:  I suggest getting a couple 16GB, 32GB, or higher capacity CompactFlash (CF) cards to capture and store your photos – more if traveling.  Be sure to check the Sandisk site for current rebates.

Sandisk Extreme Pro CF Memory Cards:  For an even faster CF memory card, look at the Extreme Pro version, which saves at 90MB/s over 60 MB/s of the Extreme CF cards.

Sandisk Extreme SD Memory Cards:  If you plan to use the camera’s second card slot, I suggest getting a couple 16GB, 32GB, or higher capacity Secure Digital (SD) cards to capture and store your photos – more if traveling.  Review the various ways that the camera’s second card slot can be used.  Again, be sure to check the Sandisk site for current rebates.

Sandisk Extreme Pro SD Memory Cards:  For an even faster SD memory card, look at the Extreme Pro version, which saves at 95MB/s over 30 MB/s of the Extreme SD cards.

SanDisk Extreme Pro UDMA 7 CF Memory Card:  This CF memory card will allow you to take full advantage of the high speed continuous shooting of the 5D Mk III to capture up to the maximum 16,270 continuous JPEG images or 18 RAW images in a single burst.

Canon LP-E6 Battery:  It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E11 Battery Grip:   This optional battery pack and grip will enable you to use two LP-E6 batteries or six AA/ CR6 batteries, thus allowing you to shoot longer without having to change batteries.  The grip replicates the controls of the body and also increases the size of the 5D Mk III body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon WFT-E7A Wireless File Transmitter:  Use this accessory to wirelessly transmit your images from the camera to a computer over a Wi-Fi or Gigabit Ethernet connection.  It can also be used to wirelessly control the camera via a web-enabled mobile device.

Canon GP-E2 GPS Receiver:  Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time.

Canon Remote Switch RS-80N3 or Canon Wireless Remote Control RC-6:  These remotes will allow you to trigger the shutter of the camera remotely, thus allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake.  There is also the Timer Remote Controller TC-80N3 for time-lapse or long exposure photography.

Canon Speedlite 600EX-RT:  This most recently introduced external flash will give you the most flash power and control of the Canon Speedlites.  It has an adjustable and rotating head so that you can use indirect and bounce flash, and is compatible with a specially designed color filter holder and gels (see below).  The 600EX-RT also allows infrared wireless functionality plus is compatible with the new radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.  The AF assist beam of the Canon 600EX-RT is the only current Speedlite designed to be compatible with the 61 point autofocus system of the 5D Mk III.

Speedlite Transmitter ST-E3-RT:  Use this radio wave wireless transmitter to control and trigger up to 5 groups of 15 flashes, up to 30 meters, with no line-of-site required.  Currently only compatible with the Canon 600EX-RT Speedlite.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 5D Mk III.  If either one of these units is in the hotshoe of the 5D Mk III, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon SCH-E1 Color Filter Holder:  This plastic holder attaches to the front of the 600EX-RT Speedlight and holds the gels of the Canon Color Filter Set.  Use these filters (gels) to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single WB setting that neutralizes the color cast of the entire scene.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX:  These external flashes will give you varying levels of flash power and control, with the 580EXII being the most powerful of the group.  They also have adjustable and rotating heads so that you can use indirect and bounce flash.  The 320EX also has a built in LED light for lighting video.  To attach color filters to these models see the Rosco Strobist Collection Flash Gels section just above.

Sto-Fen Omni Bounce Diffuser for the Canon 580EXII or for the Canon 600EX-RT:  Works great on the optional external flash units like the Canon 580EX II Speedlite or the newer 600EX-RT Speedlite.  Do not use this on your flash outdoors because all it will do outside is cause your flash to work harder.  I know you see lots of people doing it.  They didn’t bother reading how to use it – don’t imitate them!  Use a direct bare or gelled flash outdoors.  These diffusers are designed to work as a diffuser when bounced off a surface and angled at 45 degrees or so, not straight on, and not bouncing off the sky.


Canon EOS 6D Accessories

Canon LP-E6 Battery: It is always good to have an extra battery or two, especially when traveling or when photographing all day or for an event.

Canon BG-E13 Battery Grip: This optional battery pack and grip will enable you to use two LP-E6 batteries or six AA/ CR6 batteries, thus allowing you to shoot longer without having to change batteries. The grip replicates the controls of the body and also increases the size of the 6D body which may be more comfortable for some shooters, especially when using the camera in the vertical position.

Canon GP-E2 GPS Receiver: Use this GPS receiver for automatic geotagging of your images including location and altitude data, a digital compass, and UTC time. However the EOS 6D (WG) has built-in GPS, so this accessory is generally not necessary. Ironically, the GP-E2 is not compatible with the EOS 6D (N), the model that is sold in certain regions without built-in Wi-Fi and GPS.

Canon Remote Switch RS-80N3 or Canon Wireless Remote Control RC-6: These remotes will allow you to trigger the shutter of the camera remotely, allowing either self-portraits or the ability to release the shutter without pressing the Shutter Button thus preventing possible camera shake. There is also the Timer Remote Controller TC-80N3 for time-lapse or long exposure photography.

Canon Speedlite 600EX-RT: This most recently introduced external flash will give you the most flash power and control of the Canon Speedlites. It has an adjustable and rotating head so that you can use indirect and bounce flash, and is compatible with a specially designed color filter holder and gels (see below). The 600EX-RT also allows infrared wireless functionality plus is compatible with the new radio wave wireless flash system when controlled and triggered by the Speedlite Transmitter ST-E3-RT.

Speedlite Transmitter ST-E3-RT: Use this radio wave wireless transmitter to control and trigger up to 5 groups of 15 flashes, up to 30 meters, with no line-of-site required. Currently only compatible with the Canon 600EX-RT Speedlite.

Note that either the 600EX-RT Speedlite or the ST-E3-RT Transmitter can also act as a remote camera trigger for the 6D. If either one of these units is in the hotshoe of the 6D, another one of these units can fire the camera remotely, for a single frame, with the press of a button.

Canon SCH-E1 Color Filter Holder: This plastic holder attaches to the front of the 600EX-RT Speedlite and holds the gels of the Canon Color Filter Set. Use these filters (gels) to balance the color temperature of your flash to the color temperature of the ambient light in order to have a single White Balance setting that neutralizes the color cast of the entire scene.

Canon Speedlite 580EX II or Speedlite 430EX II or Speedlite 320EX: These external flashes will give you varying levels of flash power and control, with the 580EX II being the most powerful of the group. They also have adjustable and rotating heads so that you can use indirect and bounce flash. The 320EX also has a built in LED light for lighting video. To attach color filters to these models see the Rosco Strobist Collection Flash Gels section just above.

Viewfinder Focusing Screens: The optional Canon Eg-S Super Precision Matte focusing screen is designed to assist with manual focusing, and the optional Canon Eg-D Precision Matte focusing screen provides a grid in the Viewfinder to help keep your compositions straight and level.

It is one thing to know that your cool new Canon or Nikon digital SLR provides you with 3 or 4 different metering modes. It’s another thing to know how and when to actually use them in the field or in different real life situations. The Canon 5D, 7D, 60D, 50D and T3i all offer four different metering modes – Evaluative, Center-Weighted, Partial, and Spot – as I’m sure you have thoroughly read about in your manual, right? Nikons, like the D7000, D51000, and D3100 generally have three different modes: Matrix, Center-Weighted, and Spot. I’ll try to cut to the chase and simplify the explanations and their uses.  Note that there are some important differences between how they work for Canon and Nikon cameras, particularly the Spot mode.

Canon T3i T2i 60D metering mode partial spot viewfinder
The viewfinder of the Canon T3i (T2i and 60D similar) showing the areas evaluated for Partial Metering (superimposed grey area) and Spot Metering (black circle in center).

Evaluative (Canon) or Matrix (Nikon): This is the default mode for your camera, and it can be used for almost every situation you shoot. Yes, maybe 90% of the time, maybe more. The camera evaluates the entire scene, as divided into several zones, and chooses the best exposure based on its knowledge of thousands of potential image situations. The current metering systems are so good, they can even be relied on for backlit or other challenging lighting situations. An important feature of this mode is that advanced cameras such as the Canon 7D, Canon 60D or Nikon D7000, D5100 take into account the selected focus point in its determination of exposure settings. It is assuming your focus point is on your most important subject, so under challenging and critical situations, it is wise to confirm that the camera has chosen the focus point you want (well, this is always wise). Even better, you should typically manually choose the focus point or cluster of focus points, as the camera has no idea what your intended image is. So in special situations, such as dramatically back-lit scenes or a situation with bright light plus deep shadows, make sure you are not using the center point to focus and meter, and then recomposing to take the shot – because some of the zones that the camera evaluated are now no longer in your shot after recomposing, and other new areas are, so the camera has set exposure for an image other than the one you are taking.


San Miguel Duenas, Guatemala

Partial (Canon only): This mode meters a smaller area, about 9.4%, in the center of the scene on the 7D and 6.5% with the 60D. Nikons do not have this mode, though some Nikons such as the D7000 offer the ability to change the size of the Center-Weighted Metering circle (see Center-Weighted Metering below), so it makes up for this.  The area is approximately a circle that reaches to the top and bottom focus points, and the metering system ignores the rest of the frame. This mode is useful where there is a dramatic difference in lighting between the foreground or subject and the background. For example, when your subject is backlit – maybe standing in front of a bright window or the sun – and consequently their face is in shadow. I know I said evaluative mode can often handle this type of situation, but if you want the face or subject to be properly exposed and not risk blowing the shot, it is worth it to quickly switch to Partial metering mode. Again, another time to use this is when there is a wide range of light in your scene, from bright sunlight to deep shadows. Remember, this mode is not linked to your focus point. The partial area that is metered is always in the center, so meter on the part of the scene that is most critical and that you want properly exposed, using the central area of the viewfinder, lock in that exposure, then recompose and take the shot.


Campo Nuevo, Guatemala

Important Note about Locking In the Metered Exposure: The metered exposure setting is sometimes locked in by pressing the shutter button half-way down or sometimes not “locked” until the image is taken (depending on your camera, or current shooting mode, or how you set it up – read your manual!).  The shutter button also typically locks focus (unless you have changed that setting).  If you wish to lock in focus and exposure separately, which you often will need to do, on a Canon use the AF-Lock (for focus) button and/ or the AE-Lock (for exposure) button – which looks like this: * – to lock in one of them before locking in the other with the half-press or full press of the shutter button. On the Nikons, you have to set one of your buttons to be the exposure lock button, either the AE-L/AF-L Button or the Fn Button on some cameras like the D7000. I suggest first metering on the subject and locking in that exposure by pressing the appropriate button, then recomposing and locking in focus right before or as you take the photo. Or else learning the advanced methods of back button focusing. Get in the habit of knowing how to do this instinctively, and if you need to hold or just press the particular button, so that it comes naturally during critical situations. On the 7D and D7000 and other cameras you can also customize how these buttons perform or set other buttons to do these tasks. You can see in the viewfinder that you have locked focus when the focus dot is lit. You can see that exposure is locked with the AE-L indication in the Nikon viewfinder or the * symbol in the Canon viewfinder.

Locking exposure and focus, independently, each in the brief seconds before you take a shot? Confusing? A little, but not impossible to figure out with some experimentation and practice. Remember, this is why you bought the fancy dSLR, so that you could make use of all these advanced features and take your photos to another level!

Center-Weighted Average: This metering mode is sort of a cross between Evaluative and Partial metering. It acknowledges that the subject is in the center and requires special metering attention, but it also takes into account all the other zones. Again, this is not linked to the focus point, but always to the center, so if your subject is off center – which it typically should be for a more dynamic image – you need to lock in exposure on your subject and then recompose. I have found that with the Canon 50D, this mode is actually more consistent than Evaluative metering, which often over exposes by 1/3 or 1/2 a stop.  Note that you can use the Custom Settings of the D7000 to change the size of the center area being weighted.

This mode can be used when you want to ensure that the subject is properly exposed, but you also want the camera to consider the background. However, if the background is much darker or lighter than the subject, and you want the camera to expose only for the subject and ignore the background, use Spot Metering…


San Miguel Duenas, Guatemala

Spot: This mode meters a small center area, 2.3% of the frame with the 7D, 2.8% with the 60D, and 2.5% with the D5100 and D7000. This area is indicated by the small circle in the center of the viewfinder of the 7D and 60D. There is no center circle in the Nikon viewfinder and you will soon find out why.  So when do you want to use Spot metering? This, again, is useful for scenes with great variation in light and shadow, or in very critical situations. One of the most common ways to use it is when metering for proper exposure on a dramatically lit face or subject, but the exposure of the rest of the scene is unimportant. Or perhaps your subject is set against a plain but consistent background, like a bird against a large blue sky. It is also used to determine proper exposure of a subject before switching the camera to manual for a controlled studio shot, or a critical shot or series of shots where the lighting is not going to change. If your background is completely dark or extremely bright, and you don’t want the exposure system to consider it at all when determining the exposure of you subject, use Spot rather than Center-Weighted or Partial. With Canon cameras, the Spot that is used to evaluate the exposure is in the center of the frame, and is often indicated by a small circle. However, with Nikon cameras like the D5100 and D7000, the Spot surrounds the active focus point and is not necessarily in the center of the frame unless you are using the center AF point. So it is wise to become familiar with how your camera operates.

A fifth metering mode is Manual metering, which isn’t actually a mode in your camera, but is a method of metering. This is where you use a light meter or use your camera as a light meter (such as described at the end in the Spot section above) and then manually set your exposure based on the meter readings. This is used when you want ultimate control of the metering and exposure.

You can learn much more about the Exposure modes of specific cameras, including the 60D, T3i, D7000 and D5100, in my e-book users guide. See my e-book website, Full Stop to learn more about them or click the banner below! The guides also go into much more detail about setting up the related metering mode Custom Functions/Custom Settings and camera controls.

full stop dslr photo photography camera manual guide for dummies canon nikon

I recently ran across an interesting article which takes this discussion to another level by addressing the use of different metering modes in the very specific situation of a wedding. Since one of the main subjects in typically all in white, and the other in black, the metering mode you select and where you meter can make a dramatic difference in the exposure. While that article is specific to weddings, it is useful and helpful to read to further understand how the different modes work, and how special situations might call for some extra thought.