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How to Photograph a Lunar Eclipse

Learn the techniques needed to shoot lunar eclipses from Mr. Eclipse, Fred Espenak

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How to Photograph a Solar Eclipse

Learn the techniques needed to shoot solar eclipses from Mr. Eclipse, Fred Espenak

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Resources to Enhance your Photographic Experience

Learn more about the helpful resources available from Nikon

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Picture Controls Step-by-Step

Utilize Picture Controls in-camera or during post-processing to change the look of your…

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For Memorable Family Vacation Photos, Focus First on Family

Tamara Lackey on taking great photos during family vacations

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A Nikon Ambassador's Photography in Cuba

Vincent Versace on photographing the culture and people of Cuba

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Benefits of Using the AF-ON Button for Autofocus

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

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Mentor Series Worldwide Photo Treks

The Mentor Series Worldwide Photo Treks provide an incredible hands-on learning…

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How to Read Your Camera Manual

Your camera manual, it's not a novel, so don't try reading it cover to cover.

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GPS

Embed GPS data in your images and track where you've been.

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Tips and Techniques For High Flying Photos

Tom Bol discusses taking photos from hot air balloons, planes and helicopters

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Dave Black

Sports and commercial photographer Dave Black is a Nikon Ambassador. Learn more about his photography.

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COOLPIX Cameras and Cool Lighting with Speedlights

Lucas Gilman shows you how to use Speedlights with COOLPIX cameras

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D-Movie Mode

Nikon advances D-Movie functionality with groundbreaking technologies.

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One Shot: Spin Doctor

Mark Alberhasky on why images may work in multiple ways

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How to Read Your NIKKOR Lens Barrel

Understanding what all of those markings and designations on your lens really mean.

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Setting up the COOLPIX S800c

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

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In a New York Minute: Images of a Long Weekend

Lindsay Silverman spends a weekend shooting with only one D-SLR and lens…

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Rich Clarkson: The Right Place at the Right Time to Get the Shots

Rich Clarkson, an acclaimed photojournalist, who…

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Group Effort: Growing Your Skills in a Camera Club

Benefits of joining a camera club

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Composing Photographs

Tips for making better compositions when photographing in the field

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Photographing the Night Sky

Astrophotography: tips for making great images of the stars, moon and night sky time-lapse

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Tips from a Model Turned Professional Photographer

See how photographer Nancy Brown turned a 20-year modeling career in…

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Shooting the Effects of Global Warming

Gary Braasch follows the evidence; the power of photography does the rest.

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Extra Added Attraction: How to Boost the Reach of Your Nikon 1

When the first Nikon 1 V series camera, the V1, was introduced in October, 2011, photo enthusiasts as well as serious Nikon shooters saw good reasons to own one: here was a versatile, ultra-compact, ultra-quiet interchangeable lens camera capable of producing superior quality still and video images, a camera with features that made it ideal for everyday active-lifestyle shooting plus the small size and versatility that made it a perfect traveling companion.

One of the pro shooters who quickly latched on to the V1 was Mark Alberhasky, but it wouldn't be until two months later, with the introduction of the FT-1 mount adapter, that he began to realize that he was going to like this camera a whole lot more than he'd expected. With the FT-1, his Nikon 1 would now accept AF-S NIKKOR lenses, and that meant he could take advantage of the Nikon 1's 2.7x crop factor and effectively increase the reach of his NIKKOR lenses.

Crop factor is the Nikon 1 camera's added attraction. Here's how it works:

A lens transmits a circular view of a scene to a camera's rectangular sensor, which records the image. In a Nikon FX D-SLR, the sensor is the 36x24mm size we're familiar with from the days of 35mm film. Sensors in Nikon DX and Nikon 1 cameras are smaller, and thus they capture a smaller portion of the scene; in effect, they "crop" the scene and narrow the angle of view of the lens attached, creating the appearance of a magnification of the image. With DX cameras, the lens you use will appear to have 1.5 times greater magnification; with Nikon 1 cameras, 2.7 times. It's important to understand that this is not true magnification; rather, it is the equivalent effect of the image being cropped relative to the size of the image sensor.

So what Mark was anticipating was the 2.7x "magnification" of any image he shot using a D-SLR lens on the Nikon 1. For example, at its maximum focal length of 200mm, a 70-200mm NIKKOR on the Nikon 1 would provide the equivalent of a 540mm angle of view. The lens isn't really becoming a longer telephoto; rather, when the captured image is viewed on an LCD, a monitor or as a print, what's being seen is an automatically magnified image.    

"The Nikon 1 was going to blow away a lot of boundaries that previously existed," Mark says. "Thinking about a 540mm view with a 70-200mm on a V1, I realized that there were going to be a lot of Nikon photographers who were going to want a Nikon 1 camera for just that reason."

(Below) Three views of the Bahai Gardens in Haifa, Israel. Mark used the Nikon 1 V3 for each, changing lenses in order to capture varied views. The wide view was taken with a 1 NIKKOR 6.7-13mm at 6.7mm; the medium view with a 1 NIKKOR 30-110mm at 30mm; the close-up with an AF-S 70-200mm NIKKOR at an equivalent focal length of 540mm. One camera, three small lenses, worlds of difference.

Mark's enthusiasm for the possibilities of the matchup of his Nikon 1 and D-SLR NIKKOR lenses was justified when he led a photo safari to Africa in March, 2012. "Along with my D3 and D300, I took the V1 and two of its lenses—the 10-30mm and the 30-110mm—and the FT-1 adapter." He had no intention of shooting with the Nikon 1 as his primary camera, but on the first day he put a 400mm f/2.8 NIKKOR on the V1 and was startled by the 1080mm equivalent angle of view—and the incredible resolution of the camera's sensor. "And that was it," he says. "With a 1080mm view, I was seeing compositions, reaching for them and making images that none of the others on the safari could get."

Eventually Mark moved up to a Nikon 1 V2 and is currently shooting with a