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3.4 Rating
Setting up the COOLPIX S800c

The COOLPIX S800c offers wireless connectivity, learn how to set it up easily

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3.9 Rating
Dedicated Time Release Movie Mode and Time Lapse Using the Built-in Interval Timer

Deciding which technique to use with…

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Tips for Using Auto WB for Incandescent Lighting with the D5/D500

Three settings let you keep warm or cool whites in Auto…

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3.7 Rating
Advanced Wireless Lighting

Advanced wireless lighting is the use of multiple Speedlights set up for wireless remote…

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4.9 Rating
Speedlight Tutorial: Day to Night Technique

David Tejada uses Speedlights to create the illusion of a night scene

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4.6 Rating
Introduction to ISO, Aperture, Shutter Speed & Other Advanced Settings for HDSLR Video

Advanced settings for HDSLR video

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5.0 Rating
Setting Up Your D4S or D4 DSLR for Networking with the WT-5

Video tutorial on setting up the D4S and WT-5A for wireless…

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4.3 Rating
Using Fast Shutter Speeds for Action Photos

Lucas Gilman on action photography settings

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4.3 Rating
Understanding Auto ISO

Auto ISO can simplify shooting under changing lighting conditions

Beginner

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4.3 Rating
Benefits of Using the AF-ON Button for Autofocus

Three pros discuss using the AF-ON button for AF control

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4.5 Rating
Shooting Wirelessly with the Nikon WR-R10 and WR-T10 Wireless Remotes

Learn how easy it is to use the WR-R10/WR-T10 for…

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4.2 Rating
The Sum of the Parts

Making Movies with the D5000

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Setting up the D4S/D4 and WT-5 for Networking: HTTP Mode or FTP Server

Video tutorial on setting up the D4S/D4 and WT-5…

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4.7 Rating
Speedlight Tutorial: Bounce Technique

David Tejada uses Speedlights wirelessly for pleasing portrait illumination

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Lighting Cars for Studio Shots

Blair Bunting on photographing cars in the studio

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ISO Control

For digital photography, ISO refers to the sensitivity of the camera's sensor. The ISO setting is one of…

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Using Auto FP High-Speed Sync to Illuminate Fast Sports Action

Dave Black on using high-speed flash sync for sports…

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4.4 Rating
Quick Tips for Taking Better Portraits

Suggested Lens choices, exposure settings and focus modes

Beginner

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3.9 Rating
Basics of Exposure and Camera Controls

Ideal class for those who want to go beyond point & shoot photography

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4.7 Rating
Joe McNally and the new SB-910 AF Speedlight

Behind the Scenes of a Marketing Campaign Shoot

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4.3 Rating
Exposure Bracketing: The Creative Insurance Policy

Get creative with your photography by using this age-old technique.

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4.4 Rating
Flash Photography the Easy Way

David Tejada's easy-does-it flash tips

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Zooming into a Scene with your Feet

Moose Peterson on using specific lenss for their angles of view

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3.3 Rating
Capture NX 2: Lesson 10

Discover the time-saver of batch processing a group of your images.

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Photo Editing with Nikon's Capture NX 2

Learn to use editing features of Capture NX 2 software to get the most from your…

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4.3 Rating
Live Image Control

Live Image Control lets you preview how certain settings will affect your final image

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3.6 Rating
Learning How to Use Your Camera's Histogram

The histogram is a useful tool that analyzes tonal range and helps in…

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4.1 Rating
Active D-Lighting

Active D-Lighting optimizes high contrast images to restore the shadow and highlight details that are…

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2.9 Rating
What to do When you Need Stills while Shooting HD Video

Shoot simultaneously or save a frame options with the D4 or D4s…

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4.2 Rating
Multi Story

In which smart gets smarter

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4.6 Rating
Night Photography

Reed Hoffmann's tips for great night photography

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4.4 Rating
Flash Points: The Control of Light

Color temperature, rear sync, slow sync: Three key elements in flash photography.

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4.5 Rating
Photography Lighting Tutorial Part 1 - Control of Color

Go on location with Joe McNally for a video tutorial on lighting…

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4.8 Rating
Repeating Flash Lighting Technique

Joe McNally uses the technique of repeating flash to capture the grace of balletic…

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4.1 Rating
Taking Pictures of Fireworks

Learn how to get great fireworks shots this summer.

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4.7 Rating
COOLPIX Cameras and Cool Lighting with Speedlights

Lucas Gilman shows you how to use Speedlights with COOLPIX cameras

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Absolutely Free

It was while working on stories for the Learn & Explore section of the NikonUSA website that I was reminded how far digital photography has enabled us to push our ideas, techniques and results. I thought of the trial-and-error, experimentation and cost that went into working out the guidelines when we worked with film. These days all the creative risk-taking we could want is ours for the taking.

The L&E stories concerned image overlay—impossible with film—and multiple exposure—possible, but tricky. Today, in select Nikon D-SLRs and COOLPIX cameras, both are easy invitations to creativity.

So are picture controls, which I've been using to subtly shape photos to my taste and style. When I began taking pictures I learned that each film had its own characteristics. I used Kodachrome for its vivid reds and yellows; Fujichrome for bright and brilliant greens; Ektachrome for its blue-green sensitivity; and black-and-white for its look of photojournalism. I developed relationships with processing labs, so I could tell them I shot a certain film a certain way and rely on them to get the color and the effect I wanted. Today I have onboard picture controls and, in effect, the camera is the lab. By accessing a menu I can literally change the look of my photos, shot to shot, to react to light and color and bring to the photos the mood I want. I can get a neutral response, with tones and colors in mid-range, and I use that setting for some portraits; I can shoot the scene in Vivid mode to punch up the colors, and I like that setting when I'm shooting on an overcast day or when autumn is my subject.

An added bonus is that even though I can select the preprogrammed responses of these settings, I have the option of customizing them to my taste. If a vivid response looks too vivid, I can take down the saturation until it's exactly where I want it to be—and then that custom setting can become my definition of vivid for as long as I want it to be. I can do the same with contrast and hue. In all my cameras, my vivid setting is one or two steps down from the program.

Try this: with your camera on a tripod, take the same scene with the settings at standard, neutral and vivid. Then go into those settings and customize them. Feel free to make several variations; you can store up to nine custom settings.

Another creative, custom choice that digital puts at our fingertips is white balance. Simply set a white balance control and you can photograph in daylight or by incandescent or fluorescent light. Or set auto white balance and let the camera decide. What I really like to do is adjust individual color temperature settings. I set my camera for Live View, look at the scene I'm photographing, then, using the color temperature section of my white balance control, I alter the color temperatures. I don't pay attention to the number—it might be 3200 degrees Kelvin or 5700, it doesn't matter. What I'm looking at is the change that takes place in the image as I make the adjustments. When the scene is esthetically pleasing to me, that's my setting. (If your camera doesn't offer Live View, make the setting, take the shot, view the results and adjust if necessary.)

Amazing possibilities are becoming commonplace as digital photography takes us way beyond just getting the right exposure and into a world of personal creative choices where images can be custom made.

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