D600

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I spent a considerable amount of time with both the Nikon D610 and the Nikon D600 as I researched and wrote my guides to the camera, Nikon D610 Experience and Nikon D600 Experience, and it has proven to be one of my favorite dSLR bodies.  It is well designed, fully featured, and the image quality and low light performance has proved to be excellent. It is indeed a very powerful and versatile dSLR camera, and much of that is due to its autofocus system, its controls, and its custom settings.  In fact, if you go through the Menus and Custom Settings of the D610 / D600, you will find that a “Top 25 Tips and Tricks” post could easily be put together from just these options alone.

Below is an explanation or introduction to several of these features and options for the D610 / D600.  I go into much more detail about using all of these particular functions and settings, as well as everything else about the camera, in my e-book user guides Nikon D610 Experience and Nikon D600 ExperienceAnd in fact, some of the content from these books is excerpted or summarized throughout this post.

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Detail of the controls of the Nikon D600 dSLR camera.

Despite the title of this post, I’m sure you realize there generally really aren’t “tricks” to improving your photography and camera use, but rather there are functions, features, settings, techniques, and controls that you should learn and be familiar with if you wish to take full advantage of your powerful camera. That being said, “tips and tricks” makes for a shorter, more intriguing article title and format, and so I have put together this list of ten helpful … tips for taking control and full advantage of your D610 / D600:

1. Take Control of your Autofocus System:

When capturing an image, it is essential that the image is sharp and that the camera focuses exactly where you want it to. So in order to focus on your desired subject, or precisely on – for example – your subject’s eye, you need to take full control of the AF system. The 39 AF points of the D610 / D600 will allow you to tell the camera exactly where you wish to focus, but the various configurations of Autofocus Modes and Autofocus AF-Area Modes may make it more of a challenge to learn initially. So I have written an entire post about making use of this AF system, which you can read here. It involves first learning the AF related controls and then setting up the applicable Custom Settings so that the AF system works as you want it to. (Some of these settings are especially important when using AF-C mode to track moving subjects.) You will then choose an Autofocus Mode (such as AF-S or AF-C) typically based on if the subject is still or moving, and an Autofocus AF-Area Mode (such as Single-Point or Dynamic-Area) typically based on how you wish for the camera to make use of surrounding AF Points such as to help focus on a subject or track a moving subject.

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Simulated view of the Nikon D610 / D600 Viewfinder, showing the locations of the 39 AF Points (all of the AF Points will not be visible in the viewfinder at the same time as seen here).

The Menus and Custom Settings will also allow you to do things such as limit the number of available AF Points to just 11 if you find the 39 points excessive for your needs or overwhelming at first when learning to use them (a6: Number of focus points).  And you can make use of another setting to dictate whether or not the focus point selection “wraps around” to the other side of the screen when you reach, say, the far right AF Point (a5: Focus point wrap-around).

2. Make Full Use of and Customize the Buttons and Controls:

In order to work quickly or more efficiently, you should not only learn all the buttons and controls on the camera, but the D610 / D600 will allow you to customize them to fit your shooting needs and personal shooting style. Buttons like the Exposure Compensation and Metering Mode buttons on the top of the camera will obviously enable you to quickly change these settings. The AF Mode Button button, located inside the Focus Mode Selector switch near the base of the lens, may be confusing at first to those who have not previously seen or used it on the Nikon D7000, though you should quickly find that it is a convenient design. It is used to select the Autofocus 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, which you can also view on the top Control Panel or in the Viewfinder.

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View of the rear controls of the Nikon D600.

The AE-L/AF-L Button can be customized to lock the exposure setting and/ or focus distance independently of the Shutter Button, or configured to perform back-button focusing duties. And buttons like the Fn Button and Preview Button can be set up to access one of numerous other settings that there is not a specific dedicated button for, such as quickly changing to Spot Metering or temporarily capturing RAW files while shooting in JPEG format. The Flash Button on the front of the camera will not only raise the flash, but it is also used in conjunction with the rear Main-Command Dial to set the Flash Mode (as viewed on the top LCD Control Panel), and with the front Sub-Command Dial to change the Flash Compensation amount.

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Some of the options for Custom Setting f2, to assign your desired function to the Fn Button.

3. Learn the Difference Between Interval Timer Shooting and Time-Lapse Photography:

Unlike some other Nikon dSLR cameras, the D610 / D600 has separate settings for Interval Timer Shooting and Time-Lapse Photography Shooting. Although they are closely related – and are both methods of setting up the camera to automatically take photographs at regular, preset intervals – there are important differences.

Interval Timer Shooting can be used to take a series of images at each interval (for example, four images in a row every 1 hour for 3 hours). It can be used to take these multiple series of shots over several minutes or hours. Time-Lapse Photography is used to take a series of individual photos at each interval over an extended period, which are then automatically combined into a time-lapse movie (for example, one photo every 30 seconds for 6 hours, which are then turned into a movie). The resulting movie will use the video frame rate you have set in the camera, and the menu will calculate and display how long the final movie will be based on your settings.

4. Make Use of and Customize Picture Controls for those Shooting in JPEG Format:

If you are capturing images as JPEG files, you will want to set and/ or customize the Picture Controls so that your images have your desired level of sharpening, contrast, brightness, saturation, and hue. In other words, so that they look exactly how you want them to when they come out of the camera. These Picture Control settings are permanently applied to JPEG image files as they are processed and saved in the camera (but do not permanently affect RAW-NEF files). You can choose one of the presets such as Standard, Vivid, Landscape, and even black and white Monochrome. Or modify one of the presets to your desired settings or create your own custom Picture Control. You can even find custom Picture Controls online, such as ones that mimic certain types of film.

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Nikon D600 Picture Control menus to choose and modify a Picture Control, which determines the final look of JPEG images.

Picture Control settings are not necessarily needed if you shoot in RAW. The Picture Control settings will be associated with the RAW file as metadata and may be “applied” as you view the image in processing software such as Nikon Capture or View NX 2, but the settings will not permanently affect the RAW file and they can be changed during processing without affecting the quality of the image. Although please note that the Picture Control you set applies to the images and their Histograms that you see on the rear LCD Monitor even if you are shooting in only RAW. So, for example, if you were to set a Picture Control with high contrast, the images shown on the LCD Monitor will incorporate this setting (and the Histogram will reflect this setting) and thus will not look the same as the “unprocessed” exposure captured in the RAW files that you will later view on your computer. Therefore you may want to have this set at Standard or Neutral if you shoot RAW so that the images and their histograms you view on the camera’s LCD Monitor closely resemble the actual unprocessed RAW images. Or you can take a different approach and customize the Picture Controls to closely resemble how you typically process your RAW files. That way you can preview on the rear LCD how your final, processed image will appear. This approach should be taken only after you have gained experience with post processing and have developed your own typical processing settings.

5. Configure Your Camera for Easy Exposure Compensation:

Pressing the Exposure Compensation Button, indicated by (+/-), and turning the rear Main Command Dial will adjust Exposure Compensation, so that the exposure of a subsequent image is lighter or darker. If you wish to “cancel” exposure compensation, you will need to remember to change this setting back to zero after you take the shot.

If you often make use of Exposure Compensation (EC), you may wish to sometimes apply EC to just the next shot but sometimes use it for all of your following shots.  Custom Setting b3: Easy exposure compensation can give you very precise control over how you use the camera controls to set exposure compensation. You can set it up so that you must press the Exposure Compensation button as you turn the Main Command Dial in order to adjust exposure compensation. Or you can select to just directly turn the Command Dial of your choice, without pressing the Exposure Compensation Button first (by choosing setting On). This is a quicker way to adjust exposure compensation but introduces the possibility of changing it accidentally. With either of these above settings, exposure compensation will not be reset to 0 when you turn the camera off or when the metering standby timer period ends, so you must be sure to check your settings often to ensure you are not using exposure compensation when you don’t wish to.

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Custom Setting b3 to set up Easy Exposure Compensation.

Alternately, you can set up the camera so that you turn one of the Command Dials (of your choice in Custom Setting f5) to directly adjust exposure compensation (EC), but your EC setting will be reset when the camera or exposure meter (Standby Timer) turns off. This option is the most sophisticated and most flexible, and may be the best one to learn and use. This is because you can still continue to use the Exposure Compensation Button with a Command Dial to set EC, but by setting it for On (Auto reset) EC will not be reset when the camera or Standby Timer turns off. Exposure compensation will only be automatically reset if you set it directly using the Command Dial without the button. So if you wish to use exposure compensation for just one shot, you can adjust EC with just the dial and then let it cancel after than single shot. But if you wish to take a series of shots with the same adjusted EC, you can use the button / dial combination to set it more “permanently.” Once you learn more about exposure compensation and how and when to use it, this will all start to make more sense, and you will begin to understand why this is such a powerful and useful Custom Setting.

6. Take Advantage of the Two SD Card Slots:

If you insert SD memory cards in both of the available slots, you can configure the second card to function in a variety of ways, by using the Role Played by Card in Slot 2 menu setting.  Overflow will save your images onto the second card after the first card is full. Backup will simultaneously record copies of all images onto both card 1 and card 2. Raw Slot 1 – JPEG Slot 2 will store NEF (RAW) images on card 1 and JPEG images on card 2, for example when you are shooting NEF (RAW)+JPEG in order to capture both file formats at the same time. When the second or third option is selected, the camera will use the card with the least amount of remaining memory to determine the displayed amount of exposures remaining. In the Movie Settings Menu you can also select to save movies on a specific card.

Nikon D600 dual two card slot memory SD body detail learn use book manual guide

You can also use the Copy Image(s) menu item to copy images from one memory card to another when two cards are inserted in the camera. This can be used to back up specific images or the entire card at once. This could be useful to create back-up copies of your images when you don’t have access to your computer, external hard drive, or CD/DVD burner – but it is best to back them up on one of these more permanent devices as soon as possible.

7. Experiment with HDR Shooting and Multiple Exposure Shooting:

Previously, HDR processing was performed only with software, but with the in-camera HDR (high dynamic range) feature of the D600 you can now capture two images of various exposures (an under-exposed image and an over-exposed image), automatically combine them into a single HDR image, and process them using a variety of options, all in-camera. While this will not result in the distinctive, dramatic types of HDR images you may have seen, it can create an image with a broader range of tones. (To create dramatic HDR images, you will still need to manually bracket three, five, or seven exposures of the same scene and combine and process them using HDR software.)

The in-camera HDR Shooting menu will allow you to select the exposure value (EV) increments of the two images (from 1 EV to 3 EV, or choose Auto), and you can also set the amount of Smoothing used when combining the images. You can set the camera to take just one HDR series, or continue to shoot in HDR Mode until you disable the function.

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Lowell House, Cambridge, Mass – Making use of in-camera HDR to obtain a better exposure at night, with broader range of light, dark, and shadow details than would be possible with a normal exposure.

The in-camera Multiple Exposure Shooting Mode of the D610 / D600 allows you to create multiple exposure shots, with either two or three exposures superimposed in one image. You can use the Multiple Exposure menu to initiate Multiple Exposure Mode, and as with HDR Shooting you can decide if you wish to take a series of multiple exposure shots, or a single one after which the camera automatically reverts back to regular shooting. You can then select the number of shots to be combined, and set the Auto gain (use On unless you are working with a dark background. When Auto gain is set for On, the exposure of each shot is adjusted so that the final shot has the correct density. For example, if three shots are taken and combined for the final multiple exposure, the gain for each shot will be set at 1/3. If Auto Gain is turned Off, the result will likely be a dark, muddy shot.)

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Multiple Exposure image taken with the D600 using Multiple Exposure Shooting mode.

8. Set the Center Weighted Metering Circle Size, and Fine-Tune the Metering:

With the D610 / D600, Custom Setting b4: Center-weighted area gives you the ability to customize the size of the central area that is used in determination proper exposure when working in Center-Weighted Area metering mode. When using Center-Weighted Metering the camera looks at the entire frame to determine exposure, but adds extra “weight” to the exposure values of the central area of the frame.  You can choose the desired diameter of the central circle area: 8mm, 12mm, 15mm, or 20mm. Or you can choose for the camera to determine the Average exposure of the entire frame, with setting Avg.

This option should be set based on how precise you wish your metered area to be or based on the size of the subject that you are metering. Since you can use Spot Metering mode for very precise metering of a 4mm diameter spot when you need that, perhaps it is useful to leave this at the default 12mm (though note that the 4mm Spot Metering circle moves and is centered around the active AF Point, while the Center-Weighted circle does not move). You can also set this to Avg to average the entire scene. This is a far less sophisticated mode of evaluating the entire scene than Matrix Metering (which takes the selected Focus Point and other data into consideration), and is similar to using an old film camera that averages the entire scene to 18% grey to determine proper exposure.

Nikon D600 viewfinder metering mode center weighted spot autofocus system af learn use book manual guide grid
Simulated view of the Nikon D610 / D600 Viewfinder, showing the location of the AF Points, the approximate sizes of the Center-Weighted Metering area size options, and the optional grid. The 4mm circle is the size of the Spot Metering area, which will actually move based on the active AF Point.

You can also take advantage of Custom Setting b5: Fine-tune optimal exposure to fine-tune the exposure value that is selected by the camera in each of its various metering modes. If you find that your images are always typically being slightly underexposed or overexposed when using a specific metering mode, you can adjust this accordingly so that you don’t have to use exposure compensation every time you use that metering mode. For example, you may find that Center-Weighted Metering delivers great exposures, but you would prefer that the images taken with Matrix Metering were 1/3 EV (1/3 step) overexposed all the time. If that is the case, you would adjust Matrix metering to +2/6 using the Custom Setting b5 menu. If you make use of this adjustment, you can still use exposure compensation in any situation in addition to this fine-tune adjustment. The fine-tune adjustment of Custom Setting b5 will happen “behind the scenes” to adjust the baseline exposure prior to any exposure compensation adjustment.

9. Configure the ISO Settings and Take Advantage of the Auto ISO Options:

You can use the menu item for ISO Sensitivity Settings to do much more than simply changing the ISO setting (which is more easily done simply using the ISO Button on the camera). If you plan to use Auto ISO rather than selecting your own ISO setting, this menu is also used to set the optional Auto ISO Sensitivity Control, which will function in P, S, A, and M shooting modes. Making use of Auto ISO can allow you to concentrate more closely on your aperture or shutter speed settings, and of course on your composition and framing. And the D600 has some great options that make the use of Auto ISO more viable and appealing than previous cameras.

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Nikon D610 / D600 ISO Sensitivity Settings Menu, including Auto ISO.

If you enable Auto ISO then the camera will automatically change your selected ISO, without your expressed permission, in certain situations in order to obtain a proper exposure. For example, if you are working in Aperture-Priority Auto Mode (A) and set the ISO at 1600, but based on your selected aperture and the lighting the camera does not believe there is enough light for the exposure and a realistic shutter speed (that you also set in this menu item – see below), it will automatically raise the ISO so that the shutter speed does not become impossibly slow for hand-holding. This may be good if you are still getting used to the cameras controls and settings and wish for the camera to help you out a bit in certain situations where you may not be paying close enough attention to your settings. Or perhaps in situations such as at a concert where the lighting may change dramatically without you realizing it or responding fast enough. But if you want complete control of your settings and exposures, you will need to turn this Off.

If you do set Auto ISO Sensitivity Control to be On, then you also set the Maximum Sensitivity or maximum ISO that the camera will use in these situations. For example, you may wish to set it no higher than 3200 or perhaps 6400 if you are willing to accept the digital noise of photos at that high an ISO. You also set the Minimum Shutter Speed that you would like the camera to automatically use in these situations. I suggest you set it at the slowest shutter speed you can possibly hand-hold and still potentially get an image without blur, perhaps 1/30 at the slowest if you are careful.

One of the powerful features of Auto ISO with the D600 is that when using it, the camera selects an ISO setting based on the local length of the lens being used. If you find that, when using Auto ISO, the camera is selecting shutter speeds that are slower than you wish (and thus may cause blur due to camera-shake), you can use this menu to adjust these settings and instruct the camera to use a faster shutter speed.

10. Make use of the Playback Display Options and Histogram

You will likely want to enable most or all of the Playback Display Options so that you can better evaluate your images, their settings, and the resulting exposures. That way you will know how to adjust the camera settings for the subsequent images. When these various display options are enabled, you can view the different screens during full-screen image playback (not multiple thumbnail view) by pressing up or down on the Multi Selector.

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Playback Display Options menu screen of the D610 / D600.

On the menu screen shown above, None will display a full screen image with no information, which helps you to inspect the image. Highlights will display blinking areas to alert you of where the image has been overexposed, which can help you determine the proper exposure for the subsequent shots. RGB histogram will display histogram graphs of the various color channels to also assist you in determining proper exposure. This one may actually be optional if you do not yet make use of individual color channel histograms. Shooting data displays additional information including the lens and focal length used, flash information, and Picture Controls settings. This screen is not necessarily very informative immediately after taking the shot since you already know most of these settings, but can be handy when later reviewing an image in-camera. Overview displays a thumbnail of the image along with the RGB histogram and shooting information. This is perhaps the most important and useful information screen to use while shooting to help determine that you obtained the proper or desired exposure of an image.

The option for Focus point will show you which Focus Point was used when capturing an image, and will thus verify if you properly focused where you intended (unless you recomposed after locking focus). It is that tiny red square or squares superimposed on your image when you view it on the rear LCD Monitor, but will not be on the actual image. It is most helpful for when you let the camera select the autofocus point, such as in action situations, and/ or when using an AF-Area Mode other than Single Point AF – and then you can see if the camera focused where you wished. But if you manually select your own AF point, as you typically should in many situations, you will already know where the camera focused.

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Overview Playback Display option, which shows a thumbnail of the image along with the RGB histogram and shooting information.

The Histogram is used to help you determine if your image was under- or over-exposed, and you generally want to make sure the graph falls down to zero before it reaches the edges of the histogram chart. If the data runs off the right side or spikes against the right edge, it means that you have over-exposed areas of your image, and you will need to adjust your exposure settings or make use of Exposure Compensation for taking the subsequent image.

There are, of course, numerous other settings and features of the D600 that can help you take full advantage of your camera. My guides Nikon D600 Experience and Nikon D610 Experience go beyond the manual to help you learn the features, settings, and controls of these sophisticated and highly customizable cameras.  Most importantly, they explain not only how but also when and why to use the D600/D610 basic and advanced features, settings, and controls in your photography. You can learn more about the guides, preview them, and purchase them by visiting my Full Stop webpage or by clicking on the book covers below:

Nikon D600 book ebook camera guide download manual how to dummies field instruction tutorial   Nikon D610 book manual guide how to autofocus settings menu custom setup dummies learn use tips tricks

Purchasing the Nikon D610: If you are still contemplating the D610 and plan to buy, please consider using my affiliate links to make your purchase, and the retailer will give me a little something for referring you – thanks! You can click on the Amazon, B&H, or Adorama logos on the left of this page, or click here for the Nikon D610 on Amazon.

Nikon D600 Experience, my latest Full Stop e book and the first D600 user’s guide, is now available! This e book goes beyond the manual to help you learn the features, settings, and controls of the powerful and highly customizable Nikon D600. Plus most importantly it explains how, when, and why to use the functions, settings, menu options, and controls in your photography – including the sophisticated autofocus system and 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 D600 Experience will help you learn to use your full-frame D600 quickly and competently, to consistently create 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.

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

http://www.dojoklo.com/Full_Stop/Nikon_D600_Experience.htm

As one reader has said about Full Stop guides, “I don’t know how I could fully take advantage of all the features the camera has to offer without this publication! It’s well-organized, easy to understand, and succinct enough to keep your attention while still containing a wealth of information to get the most out of your camera.”

Take control of your Nikon D600, the image taking process, and the photos you create!

For experienced photographers coming to the D600 from previous models, this guide explains the new and advanced features to quickly get you up and running and taking advantage of these capabilities, including the advanced 39 Point Autofocus System and its Autofocus Modes, AF-Area Modes, Menu options and Custom Settings. Plus it explains the camera controls, the in-camera HDR, Multiple Exposures, Interval Timer and Time-Lapse Shooting features, introduces the settings and controls of the HD video capabilities, and guides you through all the Menu and Custom Settings options to help you set up the camera for your specific needs.

This guide is also designed for Intermediate and Enthusiast dSLR Photographers who wish to take fuller advantage of the capabilities of the camera to go beyond Auto and Program modes and shoot competently in A, S, and M modes; take control of the sophisticated 39 point autofocus system; learn how, when, and why to use the controls, buttons, and features of the D600, and much more. It covers basic dSLR camera functions and exposure concepts for those learning digital SLR photography, and explains more advanced camera controls and operation such as using the various metering modes and exposure compensation for correct exposure of every image.

Nikon D600 Experience focuses on still-photography with an introduction to HD video in order to get you up and running with shooting movies, including the movie settings and menu options. Sections include:

  • Setting Up Your D600 – All of the D600 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 D600 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 D600 – 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 D600.
  • 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 D600 is a 217 page illustrated e-book that goes beyond the manual to explain how, when, and why to use the features, settings, and controls of the D600 to help you get the most from your camera.

Learn more about Nikon D600 Experience, view a preview, and purchase it on my Full Stop website here:

http://www.dojoklo.com/Full_Stop/Nikon_D600_Experience.htm

As I am working on my guide to the Nikon D600, Nikon D600 Experience, I realize that it may be very helpful to Nikon users to briefly explain the difference between Interval Timer Photography and Time-Lapse Photography. In the Nikon D600, these features are found in the Shooting Menu.

Interval Timer Shooting

This is used to take a continuous series of photographs at each specified time interval, for a set number of intervals, with the intervals to begin either immediately or at a set time (see Figure 1). It can be used to take these multiple series of shots over several minutes or hours. This is a bit different than the Time-Lapse Photography option (just below) in that Interval Timer Shooting can be used to capture not just one but rather a series of photos at each interval – for example, 4 photos in a row every 10 minutes, for 2 intervals. This will result in a total of 8 photos, as the camera will calculate and show you.

Nikon d600 interval timer vs time lapse photography shooting difference
Figure 1 – Interval Timer Shooting menu, showing 4 shots to be taken each interval, for 2 intervals, for a total of 8 shots. The intervals are to start immediately, with the time between intervals as 10 minutes. The current time is 22:50.

First choose to begin the Interval Timer Shooting immediately (Now), or at a set Start Time. Press left and right on the Multi Selector to navigate through these menus and up and down to set the desired times and numbers.

Next set the Interval, or time period between when each series of shots is taken. Then set the number of intervals (Select no. of times) and the number of shots to be taken at the start of each interval (no. of shots). Press right again when done with the settings, and select On to begin the Interval Timer shooting.

Ideally, set up your camera on a tripod for the duration of Interval Timer Shooting. Note that you cannot use Live View, and that each series of shots will be taken at the frames-per-second rate of the current Release Mode (or the Continuous Low rate if set for Single Frame), although this rate may be limited by a slower shutter speed setting. You can combine Bracketing with this function. Press the OK Button between intervals to pause or stop the process. The camera will need to focus before taking the shots, so it may be best to pre-focus the camera and then set the camera and lens to manual focus.

Time-Lapse Photography

This differs from the above Interval Timer Shooting in that it is used to take a series of individual photos over an extended period of minutes or hours that are then combined into a time-lapse movie (see Figure 2). Thus only one photo is taken at each interval – for example, one photo every 10 seconds, for 8 hours. The resulting movie will use the frame rate setting from the Movie Settings (also in the Shooting Menu), and thus that setting (24fps, 30fps, etc.) will determine to total length of the movie. If 24fps was used in the above example, the resulting movie would be 2 minutes, as the camera will thankfully calculate for you in this menu.

Nikon d600 interval timer vs time lapse photography shooting difference
Figure 2 – Time-Lapse Photography menu – here the camera is set up to take an image every 5 seconds (the Interval), over a period of 25 minutes (the Shooting time). Since the movie frame rate is set at 24fps, the final movie will be 12.6 seconds long (Length recorded). The maximum possible length of a movie here is shown to be 38 minutes and 15 seconds based on the space left on the memory card as shown at the bottom, though note that the actual maximum length of any movie is 20 minutes.

To set up this function, access Time-Lapse Photography in the Shooting Menu.

Press right on the Multi Selector to access the settings, then press right or left to navigate to the various settings, and up and down to change the numbers and times. First set the Interval or time period between each shot. Then set the total Shooting time. You need to set short Intervals and a long Shooting Time to create a lengthy final time-lapse movie.

When done with the settings, press right on the Multi Selector and choose On. The time-lapse shooting will begin after 3 seconds. Again, be sure to set up the camera on a tripod for the duration of the shooting. When the shooting is complete, the resulting movie will be saved to the memory card selected in the Shooting Menu under Movie Settings in the Destination option.

If you wish to calculate the total length of a resulting time-lapse movie without entering the numbers into the camera, you can use the formula below, or use a time-lapse calculator available online or as an app.

Time-Lapse Formula:

trt = H * 3600 / I *FR

trt= Total Running Time in seconds.

H= Total Hours taken for time lapse in real time.

I= Interval in Seconds between photographs.

FR= Frame Rate in which pictures will be displayed (24, 25, 30, 60 etc.).

So for the settings in Figure 202:

trt = 7.5 * 3600 / 30 * 24

trt = 37.5 seconds (shown on the camera as 37.6”)

As you can see, it is easier to just get an app for this! Note that the total maximum length for a movie is limited to 20 minutes. Be sure to replace the Viewfinder eyecup with the Eyepiece Cap provided with your camera to block stray light from entering the camera during this process. Press the OK Button or turn the camera off to stop the time-lapse process. As with Interval Timer Photography, the camera will need to focus before taking each shot, so it may be best to pre-focus the camera and then set the camera and lens to manual focus.

Both Interval Timer Photography and Time-Lapse Photography and their various settings and options are explained in more detail in the Interval and Time-Lapse Shooting section of the Nikon D600 Experience e-book user’s guide.

Nikon D600 Experience – The Still Photography Guide to Operation and Image Creation With the Nikon D600 is an e book user’s guide that goes beyond the manual to help you learn the features, settings, and controls of this sophisticated and highly customizable camera.  Most importantly, it explains not only how but also when and why to use the camera’s basic and advanced features, settings, and controls in your photography.

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

Written in the clear, concise, and comprehensive manner of all Full Stop dSLR camera guides, Nikon D600 Experience will help you learn to use your D600 quickly and competently, to consistently create the types of images you want to capture. As one reader has said about Full Stop guides:

“I don’t know how I could fully take advantage of all the features the camera has to offer without this publication!  It’s well-organized, easy to understand, and succinct enough to keep your attention while still containing a wealth of information to get the most out of your camera.”

For dSLR users from Experienced to Enthusiast:

For experienced photographers coming to the D600 from the D90, D7000, D5100, etc., this guide explains the new and advanced features in order to quickly get you up and running and taking advantage of these capabilities, including the sophisticated 39 Point Autofocus System and all its AF Modes, AF Area Modes, and Custom Settings.  Plus it explains the camera controls, the in-camera HDR, Multiple Exposure, and Time Lapse features, introduces the video capabilities, and guides you through all the Playback, Shooting, and Setup Menus, Custom Settings, and Movie Mode Menu settings of the D600 in order to help you best set up the camera and its controls for your specific shooting needs.

For intermediate and enthusiast photographers this instant download Nikon D600 e book will help you learn to take fuller advantage of the capabilities of your camera:

  • Go beyond Auto and Program modes and shoot competently in A, S, and M shooting modes.
  • Take full advantage of the sophisticated 39 point autofocus system.
  • Learn how, when, and why to use and customize the various controls, buttons, and features of the D600.

To get you started, it includes explanations and recommended settings for all Menu options and Custom Settings of the D600.  It covers basic dSLR camera functions and exposure concepts for those learning digital SLR photography, and explains more advanced camera controls and operation, such as taking control of the powerful autofocus system for sharp focus of still or moving subjects, using the various metering modes and exposure compensation for correct exposure of every image, and taking advantage of other features of the D600 such as in-camera HDR and Multiple Exposure Mode.

Nikon D600 book ebook download manual guide instruction tutorial how to dummies   Nikon D600 book ebook download manual guide instruction tutorial how to dummies

Nikon D600 book ebook download manual guide instruction tutorial how to dummies   Nikon D600 book ebook download manual guide instruction tutorial how to dummies
Example images from the text of Nikon D600 Experience

You can preview Nikon D600 Experience at the Full Stop webpage:

Nikon D600 Experience not only covers the various settings, functions and controls of the Nikon D600, 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 menus and settings to get you up and running with video. Sections include:

  • Setting Up Your D600 – All of the D600 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 D600 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 D600 – 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.
  • Composition – Brief tips, techniques, and explanations, including the creative use of depth of field.
  • 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 D600.
  • Introduction to Video Settings – Settings and explanations to get you started.

This digital guide to the Nikon D600 is an illustrated e-book that goes beyond the D600 manual to explain how, when, and why to use the features, settings, and controls of the D600 to help you get out there shooting in the real world.  It is available in instant download PDF and EPUB formats.

Title:  Nikon D600 Experience
Author:  Douglas Klostermann
Page Count:  217, illustrated
ISBN #: 978-1-3017-2999-9
Price: $14.99

What Readers are Saying about Doug’s previous guide Nikon D7000 Experience:

This book, together with the manual that came with your camera, is all you need to start discovering the full potential of the D7000.
-Max M.

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.
-Peter S.

Really practical and tremendously helpful. Readers of this e-book can expect to benefit from a more rewarding photographic experience using this superb camera, and be better able to exploit its potential to match their personal objectives and photographic style. Highly recommended.
-M.M.

I would recommend this to anyone who wants to get a quick start to using the D7000.  Manuals are nice, but this eBook highlights the important information and gives a quick easy to understand explanation of most all of the functions and controls.
-Ray M.

I found the Nikon manual good for understanding how to set things up but not much on the why – this book really focuses on the WHY.  The guide helped me understand why to use specific settings for specific needs.  The Custom Settings sections helps to make firm decisions on how to apply settings by understanding the usage of each in addition to knowing how to set them up.
-Benoit A.

This manual is a clearly written, concise and useful explanation of the rationale for the seemingly infinite and often confusing settings options for the D7000. Used in conjunction with the Nikon manual I feel a bit more confident in understanding how to at last proceed in getting better photographs.
-W.L.S.

It’s clear, concise and gets to the heart of the camera’s multiple and often confusing options. Very highly recommended – for experienced user and beginner alike. As previous reviewers have remarked, the official manual is very good on what to do, but not so clear on why.
-G.S.A.

A well written, professional helpful guide – Brilliant, just what I was looking for! A manual for the D7000 that was exciting, clear to follow, had examples and was used by a professional who gave just the right amount of technical with explanations of why you use those settings, when to use those settings and so on, all properly explained. The book is a revelation, a joy to follow, well thought through and well written. Nikon should be employing Doug to write every one of their cameras manuals.
-R.D.C.

Comparing the Nikon D600 vs. D7000 vs. D300s:

I’ve written a previous post comparing the Nikon D7000 vs D90 vs D300s, as well as one comparing the current Nikon dSLR line-up of the Nikon D7000 vs. D5100 vs. D90 vs. D3100.   Now that the full frame Nikon D600 has been introduced (and almost immediately made available for sale), I need to revisit these comparisons to include this latest Nikon dSLR.  I am going to focus on the D600 vs D7000 vs D300s here, with some D90 specs thrown in, but leaving out the D5100 plus the more expensive D800 full frame (FX) model for now until I get the chance to incorporate them into the discussion.

Nikon D600 vs D700 vs D300s compare choose which one decide review full frame fx dx size body weight
Nikon D600 vs Nikon D7000 – comparison of body size and controls of the full frame FX vs the APS-C sized DX format dSLR cameras – image by author, courtesy of Newtonville camera of Newton, Mass.

The introduction of the full frame (a.k.a. FX format) sensor sized Nikon D600 has expanded the Nikon dSLR line-up, and perhaps made it even more challenging to determine which camera is right for you.  To get a sense of where the D600 sits, it is designed to be the first full frame dSLR aimed at the photography “enthusiast” – in both features and price (about $2100).  (Full frame or FX format means that the sensor is the same size as a frame of 35mm film.) It does not have quite all the features, continuous frame rate speed, larger and more rugged body, external controls, and customization options as a professional level dSLR like the Nikon D800, yet it still offers more than enough in terms of image quality, features, controls, and durable construction for most any serious enthusiast.  I would even contend that it is plenty capable as a semi-pro’s full frame body or second body, or even a smaller, lighter weight option for sometime-use by a pro.

Sitting Between the D7000 and D800: The D600 has been described by Nikon as sitting between the APS-C sensor sized (DX) D7000 and the full frame (FX) D800.  What that means is that, first, it has the approximate size, weight, and “feel” of the pro-sumer D7000.  This “FX camera in a DX body” is a desirable feature for a lot of photographers, especially those carrying and using their camera all day such as when traveling.  Plus it incorporates the sophisticated and customizable 39 point autofocus system of the D7000, along with that camera’s “user-friendly” interface and controls (the autofocus system has actually even been improved over the D7000 in terms of greater sensitivity).  This makes it an easy transition for D7000 users wanting to go full frame, or wanting to simultaneously work with both bodies.  Yet is also boasts some technology borrowed from the higher end D800 like the HDMI output, uncompressed video recording, and improved exposure metering.

Nikon D600 vs D700 vs D300s compare choose which one decide review full frame fx dx
Detail of the Nikon D600 full frame dSLR camera – image by author

The Second Highest Rated Sensor:  Previously, in order to offer a high-quality, fully featured yet affordable camera for enthusiasts and semi-pros, the compromise was a smaller sensor – the APS-C sized sensor (or what Nikon calls the DX format) which is about two-thirds of the size of a full frame sensor.  Larger sensors have always been desired for several reasons:  they typically deliver better performance in terms of improved resolution, increased dynamic range, and improved low light / high ISO performance.  In other words, the images have much better detail and can withstand serious cropping, display a fuller range of colors and tones, and are cleaner with less digital noise, especially in low light situations.  And indeed the sensor of the D600 lives up to these expectations – in fact it is the second highest rated sensor on DXOmark, behind only the Nikon D800E and D800 (the D800E is the D800 without the anti-aliasing filter in front of the sensor). So in terms of image quality for the price, the D600 really can’t be beat at this point.

The full frame sensor will also affect the field of view of your lenses. For those moving from an APS-C sized (DX) sensor camera to a full frame body, a 50mm lens will now act as a true 50mm lens – no more 1.5x crop factor to consider. This means that your wide angle lenses will now act as true wide angle lenses, but your telephoto lenses will no longer have quite as much reach as you may be used to.  But in the interest of lens compatibility, Nikon DX lenses can be used with the D600 and the camera will automatically crop the images as if using a DX sized sensor (so the sensor is reduced to 10.5 MP).

I first introduced the Nikon D600 in my post The First Affordable Full Frame dSLR, and there you can learn about a lot of the camera’s specifications and what they mean as far as real-life photographic use.  Here I will try to spell out the difference in specs and how that might affect your choice.  As I always like to point out, when you are trying to determine which camera to purchase or upgrade to, you need to first consider and determine your needs, and then see which camera fills those needs. Not the other way around where you look at the new features and speculate if you really need or will use them. The latest cameras almost always have more impressive features and specifications than the preceding models, but if your needs and shooting style don’t required those upgrades then it is possible that you can save some money and be completely happy with a less expensive or earlier model (and spend your money on better lenses!)

Nikon D600 vs D700 vs D300s compare choose which one decide review full frame fx dx size body weight
Nikon D600 vs Nikon D7000 – comparison of body size and controls of the full frame FX vs the APS-C sized DX format dSLR cameras – Click on this image to have a closer look.  Image by author, courtesy of Newtonville camera of Newton, Mass.

Sensor and Image Quality: The image sensor of the D7000 was greatly improved over both the D90 and the D300s, and now the sensor of the D600 is an even greater leap.  The D7000 has 16.2 megapixels, where the D90 and D300s each have 12.3 megapixels.  The D600 boasts 24.3 megapixels.  In addition to its dramatic improvement in resolution, I noted above the other image quality advantages of a full frame sensor, as well as how that will affect your lenses’ field of view.  This increase in resolution will also allow for more intrusive editing of the files in Photoshop, the ability to crop a picture and still obtain an image with high enough resolution for printing or display, and allow for larger prints.  You can have a look at dxomark.com to compare the sensors – run your mouse along the red-to-green color bar to the right of the Measurement graphs (such as Dynamic Range) to see how these differences affect images.  You can see from the charts that there are some significant improvements over the sensor of the D7000.

Exposure Metering: As with the D7000, the D600 has a 2016 pixel RGB metering sensor – although Nikon has stated that this latest version is improved over the D7000.  Both of these are certainly improved compared to the D90 and D300s, and will result in better TTL metering performance of straightforward and complex lighting scenes, such as back-lit situations.  All of these Nikon cameras offer Matrix metering, Center-weighted average metering, and Spot metering. With center-weighted metering, the D600 offers the option of an 8, 12, 15, or 20mm center circle for its weighting, or simply an old-fashioned Average reading.  The D90 makes use of your choice of a 6, 8, or 10mm center circle for its weighting, while the D7000 and D300s add a 13mm circle option to that.  A nice feature of Nikon dSLR cameras is that the Spot Metering is linked to the active AF Point, so in the image below, the AF Point was placed on the subject’s face, and the camera determined metering there (rather than requiring me to first meter where I wanted and then lock the exposure as Canon Spot Metering requires).

Nikon D600 full frame FX sensor backlit backlighting active d lighting exposure metering spot
Nikon D600 – Use of Spot Metering and Active-D Lighting in severe backlit situation.  As you can see, you still need to know how to make use of the metering modes and determine a proper exposure, as the camera can’t perform magic.  Use of fill flash in this situation resulted in better exposure and contrast on the subject.

Autofocus: The autofocus system of the D600 is similar to the D7000 AF system, with its 39 AF points and 9 more sensitive cross-type points (clustered in the center).  However, you can see that the AF points are spread much more widely across the viewfinder with the DX sized D7000:

Nikon D7000 vs D600 viewfinder DX FX compare choose vs which one af autofocus point 39
Simulated view of Nikon D7000 viewfinder, showing the location of all the autofocus AF points (and the viewfinder grid that can be turned on or off)- image by author.

Nikon D7000 vs D600 viewfinder DX FX compare choose vs which one af autofocus point 39
Simulated view of Nikon D600 viewfinder, showing the location of all the autofocus AF points (viewfinder grid not show but is available to view)- image by author.

Each of these above images show the full simulated framing as seen in the viewfinder, and you can clearly see how the 39 AF Points of the D600 are limited more to the central area of the frame.  This means that you are likely going to have to do some significant “focus-lock and recomposing” as you create interesting compositions where the subject is off-center.  This will also impact the use of the AF Points when using AF-C Continuous Autofocus Mode to track moving subjects.  The moving subject will have to remain within the area of the AF Points in order for the camera to continue tracking it, so you will have to move the camera around to follow the subject more closely.  This again is going to seriously limit your compositions when using AF-C and tracking a subject, as the subject is always going to have to be located in the central part of the frame.  If you are a serious action, sports, bird, or wildlife photographer, you are going to have to seriously consider if this AF Point arrangement of the D600 is going to work for you.  Or else consider using the camera in DX Crop “mode,” where you use just a DX-sized portion of the sensor to capture the image.  Although you will only be making use of 10 megapixels, the AF Points will in effect be spread out over more of the frame, more similar to what you see in the D7000 viewfinder.

As mentioned above, the 39 AF Points of the D600 are more sensitive than those of the D7000, with 33 of them sensitive down to f/8.  This means when you use a teleconverter (such as with a long lens in order to turn a 200mm lens into a 400mm lens) which reduces the effective maximum aperture of your lens by a stop or 2 or 3, you can sill make full use of most of the AF Points.  As with the D7000, you can limit the number of selectable AF Points to 11 if you prefer to manually select your AF Point (as you typically should) and you find 39 too many to contend with.  Since the AF system of the D600 as well as its controls and autofocus Custom Settings are so similar to the D7000, you can have a look at this post Taking Control of your D7000 Autofocus System to begin to learn how to get the most out of it.  The AF systems of the D600 and D7000 (and D300s) allow for you to use the numerous autofocus points in various ways to best capture still subjects (typically using AF-S autofocus mode) or track and capture moving subjects (using AF-C autofocus mode), including Automatic AF point selection, Single Point AF, and Dynamic Area AF using your choice of 9 points, 21 points, all points, or all points with 3D-Tracking.

Regarding the D90 and D300s, the autofocus system of the D90 has 11 autofocus (AF) points with only the center one being the more accurate cross type. The D300s offers 51 AF points with 15 being cross type, and thus is ideal for sports, action, and wildlife – although it has begun to become outdated and superseded by many of the other features of the D7000.

Nikon D600 book ebook guide manual tutorial how to dummies instruction fieldBrief commercial interruption: I would like to mention that I have written an e-book user’s guide for the D7000 called Nikon D7000 Experience, and will be offering an e-book guide for the D600Nikon D600 Experience. The guides discuss not only how to use the features, controls, autofocus systems, and various settings of the cameras, but more importantly when and why to make use of them in your photography.  They also explain the metering modes, aperture and shutter priority modes and manual shooting, focus lock, exposure lock, and more.  Plus they describe all of the Menu options and Custom Settings, with recommended settings.  Learn more about my Full Stop dSLR camera guides here!

Body, Construction and Size/ Weight: The D600 and D7000 (and even the older D90) appear very similar at first glance, and both have a rugged partial magnesium alloy body (top and rear) with a polycarbonate front.  However, the D600 is actually slightly lighter than the D7000: 1.68 lbs. vs 1.7 lbs.  The D300s is slightly larger than the other 2 bodies, and weighs in at 2.2 lbs, with full magnesium construction. The sturdier construction of the D600 and the D7000, including their nice rubber gripping surfaces, creates the feel of a more professional body. The D600, D7000, and D300s all have weather sealing at the memory card and battery doors.  The D600 has a slightly larger rear LCD Monitor at 3.2″ vs. the 3″ rear LCD screen of the D7000 and D300s.

ISO: As mentioned in the Sensor/ Image Quality section above, the high ISO performance of the D600 is improved over the D7000, which was already improved over both the D90 and the D300s. The tests at dxomark.com tell this story.  The native ISO range of the D600 and D7000 is 100-6400 expandable up to 25,600.  The D300s and D90 have a native ISO range of 200-3200 expandable to 6400. This means that with the D600 you can use high ISO settings when required, such as in low light situations, and not have any difficulty with digital noise, particularly in the shadow areas of images. You can view my informal ISO test images on this post of Nikon D600 ISO Test Sample Images to see the excellent high ISO performance when shooting JPEG images.

Controls: The controls of the D600 are very similar to the D7000, with some minor changes such as the locking Mode Dial switch (a nice touch), the different Live View / Movie switch and relocated Record Button, and in the “why did they do that?” category the reversing of the zoom in and zoom out buttons.  The Multi-Selector thumb pad size has also been reduced on the D600, which I find to be less comfortable than the larger D7000 Multi-Selector.  Overall, all of the controls are easily accessible, user friendly, and quick and easy to access and use for changing settings on the fly.  Many controls make use of a button press and then either of the Command Dials to change the setting.  For example, press the AF-Mode Button at the base of the lens and then turn the Main Command Dial to change the AF Mode or the Sub-Command Dial to change the AF Area Mode, as you look on the top LCD Control Panel to see your choices.  I found myself always intuitively turning the wrong dial in conjunction with the ISO Button, but that will just take some practice (one dial enables Auto ISO while the other changes the ISO setting).

Nikon D600 vs D7000 controls buttons size compare side by side
Nikon D600 vs Nikon D7000 – comparison of body size and controls of the full frame FX vs the APS-C sized DX format dSLR cameras – image by author, courtesy of Newtonville camera of Newton, Mass.

The D300s has entirely different switches, dials, and buttons than the D600 and D7000, however this allows for quicker and easier direct access to a few more features and settings on the D300s.  As with the D7000, the D600 offers two customizable user settings (U1, U2) on the mode dial for pre-setting a combination of camera settings and Custom Settings.  For example, you can set up your camera for landscape photography with all the settings you use for that and assign these settings to U1, and then configure your camera for studio/ portrait use and assign that combination of settings to the U2 mode.  You can also assign numerous functions of your choice to certain buttons such as the Fn Button, such as quickly and temporarily changing to Spot Metering Mode or turning on the built-in level display.

Wireless Flash: All of these Nikon cameras allow for advanced wireless lighting using the built in flash as a remote Commander for Nikon Speedlights, allowing you to make use of and remotely control simple or complex off-camera lighting set-ups.

Viewfinder: As with the D7000 and D300s, the D600 has a large, bright 100% optical viewfinder coverage.

Processor: The D90 and D300s have the Nikon Expeed Processor, the D7000 has the improved Expeed II processor, and the D600 boasts the speedier Expeed 3 processor. This allows for more video options including full 1080p HD at all the frame rates and overall faster processing of stills and video files especially when using in-camera processing features while shooting such as Vignetting Control or High ISO Noise Reduction.  The fast processor also allows for quick results when taking in-camera HDR or Multiple Exposure images.

Continuous Shooting Speed: The D600 can shoot at a maximum continuous frame rare of 5.5 frames per second (fps) up to 100 images when shooting JPEG or up to 16 images when shooting at the best RAW setting.  This allows you to capture exactly the right moment of an action situation, or a rapidly changing expression on a subject.  The D90 can shoot 4.5 frames per second (fps) up to 100 images, the D7000 shoots 6 fps up to 100 shots, and the D300s shoots 7 fps – or 8fps with the battery grip. If you often capture action and really need the highest frame rate, such as for sports or wildlife shooting, you are going to have to seriously consider the D300s or D800 over the D600.  Otherwise, 7 or 8 fps is often complete overkill in typical real-life use.

Memory Card: Like the D7000, the D600 accepts 2 SD cards, where the second card can be used in a variety of ways: overflow, JPEG on one / RAW on the other, or mirrored backup of the first card. The D300s uses 1 CF card and 1 SD card, which also can be configured in a variety of ways. The second card can definitely come in handy if one is shooting a lot of still and video files or wants instant back-up of all images.  There is a “trick” for choosing which memory card slot is viewed during image playback:  Press and hold the BKT Button and then press Up on the Multi-Selector and follow the prompts to make your choice.

Battery: The D600 and D7000 both use the high capacity EN-EL15 battery, which will last for over 1000 shots.  TheD600 accepts the optional, new MB-D14 battery grip for the use of two batteries – and to perhaps make the camera more comfortable for some users particularly when using larger lenses or working often in portrait orientation.  Similarly, the D7000 accepts the optional MB-D11 battery pack/ vertical grip,  and the D300s uses the EN-EL3e battery and the optional MB-D10 battery pack/ vertical grip. The D90 also uses the EN-EL3e battery and its optional battery pack/ vertical grip is the MB-D80.

Full HD video: The D600 offers full HD video with manual control and all the usual frame rates (1080p at 30/25/24 fps and 720p at 60/50/30 fps), for up to 20 minutes of recording at the highest settings. As with stills, you can switch to DX (as if you were using a smaller DX sized sensor) for a “telephoto boost,” and it is capable of full time autofocus, though most dedicated videographers still prefer manually focusing. The camera records mono audio but is compatible with optional stereo mics, and has a headphone jack for audio monitoring.  The D90 and D300s offer 720p video at 24 fps, with a 5 minute shooting time. The D7000 improved upon that with full 1080p HD video at 24 fps for up to 20 minutes with full-time continuous autofocus. Plus it offers 720p at 30, 24, and 25 fps.

Price: Just under $2100 – may vary slightly at different retailers.

Shooting Experience: The D600 feels and performs absolutely wonderfully. Its body and controls are comfortable and responsive in the hands, with the exception of what I think is a too-small Multi-Selector pad.   All controls are easily accessible for quickly changing all the essential settings such as autofocusing modes, ISO, white balance, metering modes, bracketing, etc. The Shutter Button is thankfully less sensitive than that of the D7000, thus allowing focus lock or exposure lock using a half-press, without accidentally taking the shot.  The Matrix Metering works great to properly determine exposure in a wide variety of situations, and the Auto White Balance even captures sunset colors nicely rather than turning them into less warm daylight colors as many previous cameras might have done.  The D600 has carried over all of the nice touches from the D7000 such as the optional grid in the viewfinder, the ability to limit the AF points to 11 – for quicker manual selection, the ability to change the continuous low shooting speed between 1 to 5 shots (which Canon has yet to do on their non-pro cameras), and the versatility to change the size of the central spot size for center weighted metering.

Choosing a Camera:  So which camera is best for your needs? At this point I would be hesitant to recommend to D300s to most users, simply due to the fact that it is an “older” model.  While it is still a highly capable camera, the image resolution and many of the features have been improved upon by the current models.  So if you plan to use your dSLR for several more years, just consider how “outdated” it will be in 4 more years.

The D600 and D7000 are similar in so many ways that a big part of the decision comes down to the full frame sensor vs. the APS-C sized sensor.  Of course the D600 has improved resolution, dynamic range, etc, but remember that all that is relative. You can still capture excellent, professional quality images on the D7000, or even the D90.  Pixel peepers will certainly find a difference, but it may not be significant enough for many users.  The full frame will also allow you to capture wider more sweeping views with your wide angle lenses, and indirectly more dramatically shallow depth of field.

This is because depth of field is affected by not only your aperture setting but also by the camera-to-subject distance.  So say that you were to use the full frame D600 to frame a shot with a 50mm focal length and f/2.0 aperture, from 10 feet away.  To “recreate” this same shot with the APS-C sensor-sized D7000 and a 50mm focal length, you would have to back up several feet to have the same field of view.  The full frame sensor will capture a wider field of view, while the APS-C “crops” the scene due to its smaller size.  Even though you use the same f/2.0 aperture setting, the depth of field does not appear as dramatically shallow because the camera-to-subject distance has increased.  So…indirectly…a full frame camera can contribute to more dramatic depth of field. (However, this all gets a bit more complicated and a lot of photographers, including myself until recently, misunderstand the role of the focal length in this – namely that it does not affect this issue: http://www.bluesky-web.com/dofmyth.htm)

However, since the autofocus points of the D600 are grouped more closely to the center of the frame, they are not as useful as the more widely spread AF points of the D7000 for tracking and capturing moving subjects when working in AF-C autofocus mode.  If you intend to shoot lots of sports, action, birds or other wildlife, the D7000 may work better.  The faster continuous frame rate of the D7000 will greatly assist with action photography as well.  Plus the D7000’s DX sensor will “extend” the reach of your telephoto lenses in these situations.  You can always use the D600 in DX Mode to “widen” you AF point spread and “extend” your telephoto reach, but the tradeoff is that you will only be using 10 megapixels of your sensor.

Purchasing these cameras: If you plan to buy any of these cameras, accessories, or anything else through Amazon.com or B and H Photo, I would appreciate it if you use my referral links. Your price will be the same, and they will give me a little commission for referring you, which will help support my blog.  Thank you for supporting my efforts!

Order your D600 today on Amazon or B and H – it is already available and shipping!

Nikon D600 on Amazon (body only or kit)

Nikon D600 at B and H Photo – body only

Nikon D600 at B and H Photo – with the 24-85mm f/3.5-4.5G ED VR Lens

Purchasing from the UK? Use my Amazon UK referral link here.

 

Nikon D600 book ebook guide manual tutorial how to dummies instruction fieldBrief commercial interruption: And don’t forget, I will be offering an e-book guide for the D600Nikon D600 Experience. The guide discusses not only how to use the features, controls, autofocus systems, and various settings of the cameras, but more importantly when and why to make use of them in your photography.  It also explains the metering modes, aperture and shutter priority modes and manual shooting, focus lock, exposure lock, and more.  Plus it goes over all of the Menu options and Custom Settings, with recommended settings.  Learn more about my Full Stop dSLR camera guides here!

Introducing the Nikon D600 Full Frame dSLR Camera and the updated Nikon D610:

(With additions made at the end of this article to explain the features added to the updated Nikon D610)

(First, I have been corrected on the title of this post – the Sony a850 was the first “affordable” full frame (meaning ~$2000 price at introduction). But as I unfortunately only have time in my work day to mostly follow, research, and write about Canon and Nikon news and dSLR cameras, this one slipped by me!)

The day has finally arrived!  For a couple years I have been suggesting to my readers that when choosing lenses they anticipate the time that, someday soon, full-frame cameras will be more affordable.  This was both to address the possibility that certain DX lenses could not be used on an FX body, plus how a lens’ field of view will be affected by a full frame vs. a cropped APS-C sensor.  Well that day has now arrived with the introduction of the Nikon D600.  Initially priced at $2100 (body only), it can certainly be considered the first enthusiast full-frame (or in Nikon terminology, FX Format) camera – and which should also be more than rugged enough and capable enough for a semi-pro or a second body.  And as icing on the cake, DX lenses are indeed compatible with this new FX camera (although the resulting image will be a 10MP DX crop).

(Of course the full-frame Canon 5D Mark II is under $2000 at this time, but that is due to it recently being replaced by the 5D Mark III.  When the 5D Mark II was new, it was priced at around $2700, and didn’t go below $2400 for most of its active life.  And you don’t want the 5D Mk II anymore – its continuous frame rate is slow and its AF system isn’t so hot, especially compared to current models.)

Nikon D600 unbox unboxing full frame FX dSLR camera 35mm new kit lens
Nikon D600 full frame dSLR camera, shown with kit lens Nikkor 24-85mm f/3.5-4.5G ED VR – Image by author.  Special thanks to Newtonville Camera of Newton, Mass.

Sensor, Viewfinder: The D600 sits between the D7000 and the recent D800, being closer – I would say – to a full-frame version of the D7000 (with a few more megapixels).  It boasts a 24.3 megapixel image sensor (over the 16.2 MP of the D7000) and the same 39 point autofocus system with 9 cross type points and similar custom settings options as the D7000. This full-frame size sensor delivers not only improved resolution but also increased dynamic range and improved low light / high ISO performance (6400 max. ISO expandable up to 25,600).  As noted above, the full-frame sensor will also affect the field of view of your lenses.  For those coming from an APS-C sized sensor camera, a 50mm lens will now act as a true 50mm lens – no more 1.5x  crop factor to consider.  This means that your wide angle lenses will now act as true wide angle lenses, but your telephoto lenses will no longer have quite as much reach as you may be used to.  However, the D600 offers a DX setting so that you can act as if you have a DX sized sensor.  This camera also has a nice big and bright 100% view viewfinder so that one can easily see their subject, make use of the AF Points, and frame their images.

Interface and Controls: Much of the user interface (menus, displays) as well as the controls are also similar to the D7000, with a few changes such as the addition of the Live View/ Movie switch, a locking Mode Dial switch, and the addition of a Picture Control button.  The newly locking Mode Dial contains the customizable user modes U1 and U2 so that you can set up the camera to quickly switch to your desired mode and settings, including your desired Custom Settings parameters.  In the“why did they do that?” category, Nikon has swapped the position of the Image Zoom [+] and [-] buttons used during image review.  So overall, any D7000 user will be immediately comfortable and familiar with this D600 body.  Changing the AF Mode and AF Area Mode of the D600 is done with the “hidden” button inside the AF/M switch at the base of the lens, in conjunction with the Command Dials (as with the D7000).  The D600 offers two customizable Function Buttons on the front of the camera to set for whichever functions you desire.

Nikon D610 book manual guide how to autofocus settings menu custom setup dummies learn use tips tricks     Nikon D600 book ebook camera guide download manual how to dummies field instruction tutorial

Brief Commercial Interruption: Of course I offer a Full Stop e-book user’s guide for the Nikon D610Nikon D610 Experience, and one for the D600, Nikon D600 Experience.  This first book is currently the highest rated D600 guide on the market, with nearly 50 five star reviews!  Click the links to learn more about the guides and all my other e-book camera guides for Nikon and Canon dSLR cameras.

Nikon D610 D600 autofocus af system full frame use choose decide book guide manual how to dummies
Simulated view of the Nikon D610 / D600 viewfinder showing the location of all 39 autofocus AF Points

Autofocus (AF) System / FPS: As mentioned, the D600 makes use of the 39 point autofocus system with 9 cross-type points of the D7000.  For those not familiar with this system, it is somewhat sophisticated in that it offers several combinations of autofocus modes (for still subjects or a variety of situations with moving subjects), autofocus area modes (how many of the AF points are active and how they track), AF related Custom Settings (to tweak the performance of the system to your subject and needs), and customizable controls (to set which buttons do what).  There is a bit of a learning curve in order to take full advantage and full control of it, but once mastered it enables a photographer to consistently and successfully capture sharp images of still subjects and to track and capture moving subjects in a variety of ways.  You can start to learn about this system in my post explaining how to Take Advantage of the Nikon D7000 Autofocus System.  You can put the AF subject tracking to good use as you shoot up to 5.5 frames per second with the D600.  This is a great frame rate for most action, sports, or wildlife photography – any slower misses important moments and any faster starts to give you nearly identical multiple shots which become a time and memory space drain when backing up and editing. (Of course if you shoot something like motorsports or professional sports, you likely need the faster frame rate of a full-fledged pro camera!)

Body, Size, Battery, Memory Cards: Regarding size and weight, the D600 is slightly larger than than the D7000, but surprisingly 20g lighter (with the battery.)  It shares the same EN-EL 15 battery as the D7000, and offers a new MB-D14 battery grip for the use of two batteries – and to perhaps make the camera more comfortable for some users particularly when using larger lenses or working often in portrait orientation.  The top and rear of the camera body are constructed of strong and light magnesium alloy, and the body is weather sealed against dust and moisture (including the battery and memory card doors).  Although the entire body isn’t magnesium like the Canon 7D or 5D Mk III, it should prove to be more than rugged and durable enough for most any photographer’s needs.  The D600 has two SD memory card slots which can be configured in a variety of ways including overflow (when one card fills images are automatically then saved to the 2nd card), simultaneous back-up (each image is saved on both cards), or stills on one card and movies on the other. The LCD monitor on the rear of the camera is now a slightly larger 3.2 inches (compared to the 3″LCD of the D7000) with 921K pixels, and is optimized for minimum glare and good contrast in sunlight.

Nikon D600 unbox unboxing full frame FX dSLR camera 35mm new kit lens
Unboxing of the Nikon D600 full frame dSLR camera, shown with kit lens Nikkor 24-85mm f/3.5-4.5G ED VR – Image by author.  Special thanks to Newtonville Camera of Newton, Mass.

Accessories: Nikon is offering a Wireless Adapter, the WU-1b, which will allow you to immediately share your images through mobile devices, remotely save images, or remotely fire the shutter through a smartphone.  It is also compatible with the Nikon GP-1 GPS unit for geo-tagging your images.

Flash: Unlike the full-frame Canon 5D series that forgo the built-in flash, the D600 (like the D800) has a built-in flash that also acts as a wireless Speedlight Commander to control remote flashes (up to two groups).  The camera of course has a hotshoe for optional external Speedlights like the Nikon SB-900, SB-800, SB-700, or SB-600.

HD Video: And of course the D600 offers full HD video with manual control and all the usual frame rates (1080p at 30/25/24 fps and 720p at 60/50/30 fps). As with stills, you can switch to DX (as if you were using a smaller DX sized sensor) for a “telephoto boost,” and it is capable of full time autofocus, though most dedicated videographers still prefer manually focusing. The camera records mono audio but is compatible with optional stereo mics, and has a headphone jack for audio monitoring.

Bracketing: The D600 unfortunately only offers the choice of 2 or 3 frame Auto Exposure Bracketing (up to +/- 6 EV), which doesn’t help the HDR shooters who would prefer 5 or 7 bracketed shots.  There is a dedicated BKT Bracketing Button on the camera body to initiate this process.  There is also a built-in “HDR mode” which combines and processes two images in-camera.

Nikon D600 book guide ebook instruction manual how to dummies field guide
Image of a gorgeous Nikon F taken with the Nikon D600 and kit lens (24-85mm f/3.5-4.5G ED VR)  Unprocessed JPEG straight from camera (with watermarks added), ISO 2500.  Image by author – click to see larger.  Special thanks to Newtonville Camera of Newton, Mass. 

Of course the D600 offers the usual Metering Modes, Drive Modes, and White Balance options, as well as the familiar Scene Modes, Picture Style settings, Multiple Exposure mode, Interval Timer for time-lapse photography, and in-camera image processing and filter/ art effects.

I expect the Nikon D600 to be an extremely popular camera, offering an affordable full-frame camera for dedicated enthusiasts, aspiring pros, and semi-pros, or a highly competent second body for semi-pros and pros.  There is nothing lacking in this camera that would prevent any photographer from capturing the highest quality, professional level images in most every shooting situation, be it general photography, portraits, street photography, studio work, wedding photography, or travel use.  Plus it offers the ability, although somewhat limited by its frame rate and centrally clustered AF Points, to capture non-professional sports, wildlife, and other action type situations.  (See the image at the bottom of the page for the AF Points locations.)

As I work on a comparison post of the current Nikon dSLR line-up, have a look at these other Nikon related posts, including how to take full advantage of your autofocus system.

The camera is offered as a body-only or with the 24-85mm f/3.5-4.5G ED VR Lens (image stabilized).

And as I mentioned, I will be coming out with a Full Stop e-book user’s guide for the Nikon D600 – Nikon D600 Experience, possibly as soon as November 2012.

Order your D600 today on Amazon or B and H – it is already available and shipping!

Nikon D600 on Amazon (body only or kit)

Nikon D600 at B and H Photo – body only

Nikon D600 at B and H Photo – with the 24-85mm f/3.5-4.5G ED VR Lens

Nikon D600 full frame FX dSLR camera unbox unboxing 35mm new kit lens 24-85mm f/3.5-4.5
Nikon D600 full frame dSLR camera, shown with kit lens Nikkor 24-85mm f/3.5-4.5G ED VR – Image by author.  Special thanks to Newtonville Camera of Newton, Mass.

The Nikon D610 was introduced in October of 2013, and has added a couple minor, but important features to the camera. The D610 incorporates a new shutter mechanism which enables a faster six frames per second (fps) continuous shooting speed and a new Quiet Continuous shutter-release mode for taking a burst of images up to three frames per second and with decreased shutter noise. In addition, the D610 has an improved Auto White Balance setting which promises more natural color reproduction both indoors under artificial lighting and outdoors. As mentioned above, the previous D600 model marked an important moment in the evolution of digital SLR cameras as the first dSLR with a full-frame sized image sensor to also be priced at about $2000 at release, thus putting it within the reach of far more photography enthusiasts. With the D610, Nikon has retained a similar price. And although a number of D600 users reportedly experienced issues with dust or oil spots on the camera’s sensor, it is expected that the new shutter mechanism of the D610 will eliminate this concern.

Nikon D610 D600 autofocus af system points full frame viewfinder
Another simulated view of the Nikon D610 / D600 viewfinder, showing the location of all 39 autofocus AF Points.  Image of Nikon F SLR by author, taken with Nikon D600 with kit lens – 24-85mm f/3.5-4.5G ED VR, ISO 2500.  Special thanks to Newtonville Camera of Newton, Mass. 

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!

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 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 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.