Archive for the 'NAPP' Category

Feb 27 2010

NAPP Members Invited To Beta Test Next Version of Adobe Photoshop

From Scott Kelby’s blog Photoshopinsider  http://www.scottkelby.com/blog/

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Now this is big!

Adobe has recently rolled out a special program to invite some members of NAPP (the National Association of Photoshop Professionals) to become private Beta testers of the next version of Adobe Photoshop, and start working with the future of Photoshop today.

Members who are invited to become Beta testers have to complete a non-disclosure agreement, and agree to abide by Adobe’s testing procedures (this isn’t a public beta, so Adobe is looking for your feedback and testing results).  We, at NAPP, put together a special video on what the requirements are to become an official beta tester, and the link to the video is in the invitation email, should you receive it.

If you’re a NAPP member, keep an eye on your email in-box sometime before Friday, as you may be invited to join the program (thousands of NAPP members around the world are being invited—just not all at one time, because of the large pool of eligible beta testers).

Once you’ve completed the forms and agreements, if you’re accepted into the testing program, Adobe will send you a notification email directly with further instructions, and how to download the software.

Thanks Adobe—we’re excited, and truly honored that you value the feedback and input of NAPP members enough to offer this first-of-its-kind private beta testing opportunity.

2 responses so far

Feb 22 2010

Download the Free Photoshop World iPhone App

From Scot Kelby’s blog PhotoshopInsider

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If you’ve got an iPhone (or iPod Touch), and you’re going to the upcoming Photoshop World Conference & Expo in Orlando, Florida (March 24-26, 2010), then you’ll want to download our brand new, free Photoshop World iPhone App.

The App lets you create your own custom class schedule on your iPhone, and has loads of other info like a list of conference events and times, a list of exhibitors, instructors, the latest news, and more (click on the graphic above for a much larger view).

Terry White ran an in-depth review of the new app over at BestAppSite.com, and goes through all the features, so rather than going through it all here, jump over there and check out his review.

You can download the free Photoshop World App right here.

A big shout out to Shawn Welch, who developed the App for us, and totally rocked it. Thanks Shawn!!!

NOTE: The Early Bird “Save $100″ Registration deadline is this Friday, so if you’re going, but you haven’t signed up—-sign up now and save the hundred bucks! Here’s the link with all the details.

One response so far

Nov 18 2009

A Photographers Interview with Vincent Versace

A Photographes Interview with Vincent VersacePlease tell us about yourself as a person and as a photographer. Where did you grow up and what sparked your desire to photograph? Were you active with the photography department in high school? Where are you living now?

I grew up all over. My father literally was a rocket scientist. He was one of the designers of the zip code machine and system, he was also part of engineering design team for mercury, Gemini and Apollo programs. He was the senior hydraulics design engineer for the crawler, which brings rockets out to the launch pad from the vab (vertical assembly building) it is still in use today. After that he worked on what is now the Abrams m-1a1 tank. So wherever there was a manufacturing/design facility we moved there every six months to a year. Needless to say I had a huge imaginary life and need to fill the time between no friends to new friends. Photography for me was that for me.

3026107826_7e7fe83c38My interest in photography was sparked when I was 6 years old. My uncle frank was stuck with babysitting me and he was a wedding photographer. He had to make some prints so off to the darkroom we went, after my first wiff of fixer I was hooked. I save up my allowance for a year and purchased my first camera, a Nikon rangefinder, in a garage sale. I sold my first picture to the local town newspaper when I was nine. Was paid 50.00. I took my father out to lunch at Woolworths. I remember leaving a 1.00 tip (that was what my dad would do)

I was the youngest person in the photography class in high school and then I wasn’t. Photography was a seniors only class and I was allowed in when I was a freshman. The teach Doug Johnson was really supportive and let me bounce of the walls.

Can you describe the defining moment or image that made you want to become a photographer?

When I knew I wanted to be a photographer, I mean new it in my core, was when I was 15 years old and out to the smoky mountains with my other uncle CJ Elfont. I shot my first “smokey water” waterfall. I watched how the world stopped for him when he shot and the look on his face after he made an exposure with his view camera. I had the “buzz” when I captured my water shot. That was when I knew.

What was the first camera you ever owned and how did you come across it? Was it a hand-me-down, purchased at a garage sale, found on the side of the road?

I purchased it in a garage sale in new Cumberland pa. It was a Nikon rangefinder.

What was your first paid photography job? Did you enjoy it? Were you scared? Did you make any mistakes?

My first paid job was a wedding I shot in high school. I charge 250.00 and it cost 285.00 to process it. No I did not enjoy it, yes I was scared and asking me if I made mistakes is a silly question I charged 250.00 and it cost me 285.00. Noooooo…… I did not make one mistake at all…

Vincent VersaceHow did you decide to make photography more than a hobby? If photography is your full time job, how did you make that decision? What was your backup plan if the photography career didn’t take off? Any regrets? If you are not a full time photographer, what is stopping you? What is your full time job? Any plans to become a full time photographer in the future?

I didn’t decide photography decided for me. I’m a conservatory trained actor and a graduate of USC film school. My uncle CJ gave me a camera for a graduation gift and said, “I’m tired of listening to you bitch about waiting tables. I taught you photography go shoot actors headshots.”

What was the last straw, the final decision maker to make you go digital? What do you miss about film?

I miss nothing about film. There was never a last straw form me. I wanted to go digital before they invented the first digital camera. I was blessed to be both Nikon’s first digital photographer outside of Nikon to be asked to beta test and Epson’s first beta tester of printers.

What is the hardest part of the job when shooting for a client? What is the hardest part of the job when shooting for yourself?

I think shooting yourself is pedantic and narcissistic. I find those types of images to simply be silly. The easiest way to deal with a client is to show no fear. All of that is handled in pre-production. If you let your work always speak for itself you have no worries. I never speak about my work in terms of “isn’t this amazing” i let the images do that. I never doubt my ability to create great imagery. That is what i do. Like a bank manage manages a bank or a baker bakes bread. That is what they do. Water finds its own level.

Do you try to help others learn about photography? If so, please explain how.

Sure do. I write books, produce tutorial dvds teach seminars arround the world.

Vincent VersaceWhat and/or who inspires you in life and photography and why?

Jay maisel. Why? Look at his work, go and listen to him speak.   Josef Sudek. His sensability and use of the simple things of life to show the beauty of the world. That is what we should aspire to.

Do you consider yourself an artist first before thinking about the job ahead of you?

Art and artist are social terms. You can only be an artist or the work you create be called art if people who don’t know you accuse you and your work of being art and you an artist: I simply don’t think that way. People who do that are a wee bit pretentious doesn’t you think?

What is the best advice you would give a photographer just starting out?

First, consider a career in plumbing. Photography is for those people who cannot do anything else. Not that they are not capable of doing other things it’s just that they can only do the one thing express them selve through the camera.

Second, stop taking pictures. Be taken by your pictures. Let the images pull you trough the camera and not the other way around.

Third, master natural light photography first.

The key to creativity is…

Always say yes. Always listen your heart.

What is your favorite camera that you have used or owned? What camera and lens combination do you use most of the time when photographing for a client? What about when photographing for yourself?

The original Nikon d1. I shoot with camera 000001. That camera was magic. My favorite lens is the 70-210d series lens. I use it to this day.

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What is your favorite time of day to shoot outdoors?

From just before sunrise to just after sunset.

How do you deal with rejection of your work, losing a job, not making a sale or a negative comment?

I don’t give a rat’s ass if someone likes my work. I like my work that is the only person who matters. I figure if you don’t like my work i now know something about you.

How do you protect your camera when not in use? When traveling? When on the way to a job? What if it rains?

I use Nikon. The world’s most “vinnie proof” camera ever made. Lowepro are the bags I use, I think they are the best built and they really go out of their way to listen to photographers when they design their bags. A secret to protecting your camera in the rain is to steal the shower caps from hotels. They are the most perfect camera covers ever devised.

Vincent Versace

Do you clean the CCD yourself or send it away somewhere? If you send it away, where to and how much does it cost?

Clean it my self

I recently started a project called 5511 where a client pays $5 for a 5 minute photo shoot when 1 artificial light is used and they receive 1 digital photo. Is this something you would be interested in trying? For me it is something fun and challenging. What are you thoughts on that?

I’m not that type of photographer. I use god as my gaffer, and therefore I shall never want for light. The way I see it is he brings the sun to every shoot for me to use.

What music sparks your creativity? Do you listen to that when shooting a job? Do you listen to music at all? Do you listen to what the client likes?

Sid Page and David Schrealander the DVD is called Odessy that and the sound track by Mark Isham from the movie “The Moderns” both are out of print.

What is your favorite band? Movie? Book? Museum? Website? Who is your favorite photographer? Artist?

Johnny Hartman. Bladerunner. The Foutainhead. The Gugenhiem in NYC. Don’t have a favorite website. Josef Sudek. Pablo Picasso.

What is your favorite photograph you’ve ever taken?

One I haven’t taken yet is my favorite image.

What is your favorite photograph from another photographer?

Dovima with the elephants. Richard Avedon.

Is there something you always ask yourself or think just before you push the shutter button?

When’s lunch.

Vincent Versace

Do you find yourself always looking at the World wondering how it would look as a photograph?

No. I think the world is always waiting to take me. I just have to slow down enough to let it.

Anything you would like to add for our readers?

Don’t worry about what others think of your work. Worry about what you think of your work.

View more photographs by Vincent Versace: versacephotography.com, acmeeducational.com

Thank you for reading the interview. This interview was presented to the photographer with questions asked by me and submissions from other photographers. The photographer is asked to answer only what he/she is comfortable with. If you would like to contribute to future interviews, please submit your your questions to me on Twitter, Facebook or on the Interview intro blog post, What would you ask a photographer?. Thank you for reading and enjoy the interview.

Some questions supplied from the following Twitter users:
@pjtaylorphoto, @ishootinraw, @donkeymaster, @GrfxGuru

Some questions supplied from the following Facebook users:
Brian Walter, Faylin Myhre, Leslie DeLorean, Patrick Connor

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Apr 26 2009

Vincent Versace Focus on Nature Interview

Focus on Nature interview with Vincent Versace.
By Einar Erlendsson
Q: Last summer you landed on Iceland for the first time and you are prepared to come again?

A: Better prepared, I think. I know what to expect. I’m also coming with a Nikon D3X

Q: What are you most looking forward to seeing in Iceland?

A: Waterfalls, energy and glaciers

Vincent Versace 01
Photo: Vincent Versace, Iceland 2008
Q: Do you see the light in Iceland as being different in some way?

A: the light appears longer, like at the end of the daylight just before sunset. It also seems to be warmer as well.

Q: What in the landscape inspires you?

A:  3:53 PM the vastness of the expanses

Q: Do you feel that the Icelandic workshop is different or has a character you can explain in few words to participants?

A: No people. It’s all about the landscape. You are forced to see the geometrics of the environment rather than relying on the expressions of people

Q: What’s your teaching style?

A: Immersive. I work with voice as well as technique


Vincent Versace 02
Photo: Vincent Versace, Iceland 2008
Q: During field trips, do you set assignments or how do you influence the workshop participants?

A: I build my classes on a class-by-class basis. I work group assignments and tailor them to the group as well as working one on with the participants.

Q: Do you like to include critic sessions in you workshops?

A: Yes

Q: What are your students mostly likely to learn?

A: To see past the obvious, to explore light, gesture color and time and how to capture them. But most importantly how to be taken by a picture rather simply taking the picture.

Q: When the weather gets challenging what are you most likely to do?

A: Ranger on.

Q: What do you like most about teaching?

A: Watching the epiphany light go off in my students and seeing things in new ways

Q: What characteristic do you feel will be of importance for participants to nurture and develop staying with you out in the country during the Iceland workshop, that should last after they return home?

A: The ability to stop taking pictures but rather to be taken by pictures

Vincent Versace 03

Photo: Vincent Versace, Iceland 2008
Q: How would you describe your photographic approach?

A: I believe that one travels in a circle but does it in a straight line when creating an image. The more you understand about the middle, post processing or what can be done to an image the more informed the decision are at the beginning, when you capture the photograph because you are always in service of the end, the print and the print? It’s inservice of your voice, what you saw at the beginning.

Q: How would you characterize your visual style?

A: I tell the truth and see the pretty.

Q: Do you have a personal concept or future project in mind before you travel to a place like Iceland?

A: There is a short story by Orson Scott Card called “Unaccompanied Sonata” that would best describe my feeling. The bottom line is I show up with no preconceptions and let the place take me were it takes me.

Q: Does it make the difference to have been in Iceland last summer, and if so, what?

A: I’m more excited to return.

Thank you Vincent Versace for taking your time.

Einar Erlendsson,
Project Manager

About Vincent´s workshop:

Vincet’s Vorkshop abstract

Turn ideas into reality


About Vincent Versace:

Computerworld Smithsonian Award Laureate
Innovation: Media Arts and Entertainment

Author: Welcome to Oz: A Cinematic Approach to Digital Still Photography with Photoshop
http://welcometooz.notlong.com

“Best how to book of the year!”
Shutterbug Magazine
http://vatshutterbug.notlong.com

http://flickr.com/photos/vincentversace/

www.versacephotography.com
www.Acmeeducational.com
http://versacephotography.com/workshop.html



Check out Focus on Nature 10%  early registration offer to the end of April.
Save $ 495.

Focus on Nature links:

Focus on Nature 2009 program
Basic workshop program
Image album
Testimonies of students 2008
About Iceland
Focus on Nature News

Facebook group


Register today: E-registration
For priority status contact Einar Erlendsson, project manager
Get your free Focus on Nature news

Focus on Nature Sponsors

Adobe Epson
Canon onOne software
Photoshop Cafe Canon
Spyder3 Nik
Double Exposure Icelandair
Hoodman

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Dec 07 2008

ANNOUNCING: Three new tutorial DVDs from John Paul Caponigro and a Discount deal with onOne and NiK software

Posted by Vincent Versace

Acme Educational has worked out a deal with onOne Software and NiK software:


You will get 20% off any purchase at onOnesoftware.com by using the coupon code ACME.

This includes Genuine Fractals, Mask Pro, AND FocalPoint…as well as everything else onOne makes.


You will get 10% off all Nik products (excluding bundles and upgrades and those sold for Nikon) at
NiKsoftware.com by using the coupon code ACME.

This includes ColorEfexpro, SharpenerPro, Viveza, Define AND SilverEfexPro.


Sign up for the mail list. Receive advanced news, special discounts, and free content.


Acme Educational is pleased to announce the Pre-Order offering of three new DVD’s from John Paul Caponegro DVD series R/Evolution


New Item (Preorder)

Black & White Mastery

Black & White Mastery will unlock the amazing power of digital color for you and your images.

You’ll discover what’s unique about black and white images, identifying a number of unique black and white palettes that will give you a wide range of options for crafting a black and white style that’s best for you and your images.

You’ll learn how to convert color to black and white with ultimate precision and flexibility. You’ll know which methods give you the best result and when to choose a simple or a complex solution. You’ll find out how to adjust the resulting tonal relationships with unprecedented precision. You’ll understand how to adjust your images selectively to further enhance your images. You be able to add color back into your black and white images (subtly or dramatically, uniformly or selectively) to add unique expressive dimensions.

In addition to processing Raw digital files, you’ll also learn how to scan analog originals (film and print). Finally, you’ll learn easy ways to make prints of your black and white digital files either with the latest inkjet technologies or by making digital contact negatives for printing with historic processes.

Most importantly, you’ll learn to see and think about black and white images in new ways which will open up a vast world of visual possibilities for you. Put this new perspective to work for you and your images today.

introduction:

  • b&w is unique
  • how gray is gray
  • b&w expanding definition
  • unlimited palette
  • b&w signature style
  • b&w seeing in
  • color is b&w – trichromatic separation
  • b&w strategic overview
  • b&w scanning
  • b&w prep for conversion
  • b&w many ways
  • raw
  • b&w adjustment layer
  • dual adjustment layer
  • triple adjustment layer
  • channels as layers
  • simulated infrared
  • b&w global contrast
  • b&w local contrast
  • b&w adding color – multi-tone
  • b&w adding color – curves and overlays
  • b&w adding color – restoring original color
  • b&w adding color – handcoloring
  • b&w inkjet printing – 2 ways
  • b&w film

And much more!

Pre-Order Pricing: $49.95 plus Shipping and Handling

Regular pricing: $59.95 plus Shipping and Handling

Get free PDFs and Test Files here.

http://www.johnpaulcaponigro.com/downloads/technique/technique.php

Posted by Vincent Versace

New Item (Preorder)

Photoshop Color Strategies

Photoshop Color Strategies will help you take your color skills to the next level. True mastery of color requires not only knowing how to use the various color tools available to you, but also knowing how to choose between them, when to apply them, and why to apply them to achieve specific color effects. You’ll learn to isolate the three essential components of color (luminosity, hue, and saturation) and control them with unprecedented precision. You’ll learn about important optical effects that affect the way you and your viewers see color and learn to put them to work for you. You’ll learn new ways of thinking about color that will help you see and produce a wide variety of color effects. You’ll discover strategies for identifying and creating successful color palettes. You can combine all of this new knowledge to craft your own unique artistic signature style. Put the unprecedented power and precision of digital color to work for you and your images now.

introduction:

  • color r/evolution
  • color is black and white
  • memory
  • optical effects
  • color types
  • successful palettes
  • association
  • side-by-side
  • infinite variations
  • color tool survey
  • editing strategy
  • blend modes
  • selectivity
  • light filled
  • increase and decrease luminosity
  • reduce hue contrast
  • increase hue contrast
  • reduce saturation
  • increase saturation
  • neutrals
  • atmospheric perspective
  • night
  • inversion
  • transpose color natural match color
  • transpose color synthetic gradient map

And much more!

Pre-Order Pricing: $49.95 plus Shipping and Handling

Regular pricing: $59.95 plus Shipping and Handling

Get free PDFs and Test Files here.

http://www.johnpaulcaponigro.com/downloads/technique/technique.php

Posted by Vincent Versace

New Item (Preorder)

Photoshop Color Tools

Learn how to use the color adjustment tools in Adobe Photoshop CS4 to achieve unprecedented control of your images.

Find out which tools are the go to tools (the ones you¹ll use everyday), which are exotic (the ones for exceptional images), and which are redundant and/or too limited (the ones you can forget about).

Make every adjustment tool more precisely target specific components of color (hue, saturation, and luminosity) using blend modes and easy to use selections / masks that allow you to target specific hues or luminosity values.

introduction:

  • hsl
  • color management – 6 simple steps
  • monitor histograms
  • editing strategy
  • color tool survey
  • blend modes
  • raw conversion
  • shadows / highlights
  • channel blending
  • levels- b&w points
  • curves
  • high pass contrast
  • selective color
  • saturation & vibrance
  • photofilter & overlays
  • match color
  • b & w adjustment layer
  • select by color range

And much more!

Pre-Order Pricing: $49.95 plus Shipping and Handling

Regular pricing: $59.95 plus Shipping and Handling

Get free PDFs and Test Files here.

http://www.johnpaulcaponigro.com/downloads/technique/technique.php

One response so far

Nov 30 2008

NIKON UNVEILS A DIGITAL MASTERPIECE: THE D3X DIGITAL SLR

With Extreme 24.5-Megapixel Resolution, Processed Image Files Exceeding 138 MB, Five Frame-per-Second Burst Speed and Nikon Core Technologies, the D3X Ushers in a New Level of Image Quality

MELVILLE, N.Y. (Nov. 30, 2008) – Nikon Inc. today announced the D3X, an FX-format digital SLR featuring extreme 24.5-megapixel resolution and superb low-noise capabilities, which provides professional photographers with commercial-quality image performance in a familiar and extraordinarily versatile D-SLR form factor. In conjunction with the groundbreaking Nikon FX-format D3, the D3X tops off a collection of flagship level, rugged, professional caliber digital single lens reflex cameras engineered to excel in all types of professional photographic disciplines from photojournalism and sideline sports, to commercial in-studio applications.

The foundation of the enhanced performance of the D3X is its FX-format, 24.5-megapixel (6048 x 4032) CMOS sensor providing commercial, high fashion, fine art and landscape photographers with the extreme resolution, dynamic range, color depth, detail and sharpness that clients demand. Whether creating catalogs, magazine covers, billboards or gallery prints, the large 5.49-micron pixel size and high signal to noise ratio produces vibrant images with breathtaking image fidelity while reducing lost highlights and shadows, and ensuring smoother tone reproduction with minimized noise. With full resolution shooting speeds of up to five frames-per-second (fps), and 14-bit files, that when processed are approximately 138 MB, the D3X offers today’s photographic artists an extreme level of performance and versatility ready for demanding assignments in the studio or on location.

“In 2007, the 12.1-megapixel FX-format D3 delivered groundbreaking digital SLR image quality, coupled with incomparable high ISO, low noise performance and high-speed handling. In doing so, the D3 broke photographic barriers, enabling photographers to work in ways never before possible,” said Edward Fasano, general manager for Marketing, SLR Systems Products at Nikon Inc. “Now, the new 24.5-megapixel FX-format D3X D-SLR provides the extreme resolution and high dynamic range capabilities needed to meet the extraordinary needs of photographic disciplines such as high fashion, commercial advertising and fine art. The D3X delivers this remarkable capability while fitting seamlessly within the Nikon system, taking full advantage of Nikon’s world-renowned collection of NIKKOR lenses and Speedlights.”

Image Quality Takes Center Stage
To re-emphasize the importance of image quality above all else, the D3X delivers an incredible level of digital SLR performance to provide photographers with extremely high resolution, exceptional dynamic range, phenomenal total gradation and outstanding color reproduction. Image files can be recorded as TIFF, JPEG or NEF (RAW) formats in either 12- or 14-bit compressed or uncompressed formats, and recorded to UDMA compatible CompactFlash™ cards for optimum speed. Photographers can save image files directly to the dual card slots as overflow, backup, or as separate file formats to different cards. Building on the D3X’s flexibility, users have the creative option to shoot in the 5:4 crop mode with 20.4-megapixel resolution, the ideal format for creating 8 x 10-inch portraits. While using DX-format lenses, faster continuous shooting of up to seven frames per second can be achieved at a resolution of 10.5 megapixels.

The exceptionally low noise of the D3X is essential to any professional commercial application, and it provides photographers with an ISO range of 100 to 1600, expandable to 50 (Lo-1) and 6400 (Hi-2). The ultra smooth tones and lack of grain at ISO 1600 as well as at low sensitivity settings result in smooth, natural skin tones and exacting detail that, before the D3X, required larger and far costlier studio-bound camera systems.

Advanced Technologies, Meticulously Executed
In a commercial setting or on location, imaging professionals need high performance in both speed and processing. The Nikon D3X can shoot at up to five fps at full resolution or up to seven fps in DX crop mode, allowing photographers to catch the split-second difference in a model’s expression or capture all of the action in a sequence. Just like the D3, the D3X achieves a start-up time of a mere 0.12 seconds and a shutter release time lag of 0.04 seconds.

The D3X’s speed, as well as high levels of performance, leverages Nikon core technologies including a newly enhanced EXPEED™ Image Processing System, specially designed for the D3X to provide superior image quality, faster processing speeds and lower power consumption. This advanced system is able to achieve extremely precise color reproduction for a broad spectrum of hues, in addition to vivid saturation and smooth gradation. What’s more, Nikon’s advanced noise processing function is engineered to minimize noise at all sensitivities and operate seamlessly without interfering with other image color parameters.

The D3X also features Nikon’s exclusive Scene Recognition System, which continuously analyzes information from the 1,005-pixel RGB light sensor, to further refine auto exposure, auto white balance and autofocus calculations. This results in flattering portraits and awe-inspiring landscapes that portray accurate color and fine details. Nikon’s exclusive 3D Color Matrix Metering II helps ensure accurate exposures, even in the most challenging lighting conditions. Instantly evaluating each scene before capture, input data from the system’s sensor is automatically referenced against an internal database of more than 30,000 images derived from actual photographs to calculate correct exposure values. Active D-Lighting, used in combination with 3D Matrix Metering II, helps to determines proper exposure, and creates realistic contrast while compensating for lost shadows and highlights. Prior to shooting, users can choose from Extra High, High, Normal, Low or Off settings, as well as an Auto mode.

Additionally, the D3X features Nikon’s exclusive Multi-CAM 3500FX focus module, with 51 AF points, 15 cross type sensors and 36 horizontal sensors that easily track and lock onto moving subjects, delivering the same fast and accurate AF performance that helped make the D3 immediately successful. Users can select any of the AF points, making it easy to consistently attain accurate focus right on a subject’s eyes, frame after frame. Additionally, three AF-area modes – Single point, Dynamic-area AF and Auto-area AF – are available to maximize the use of the 51 focus points by selecting the most suitable one to match subject conditions. AF is also available in one of two Live View modes optimized for the studio, including a phase detection handheld mode and a tripod mode. This feature allows the user to zoom in up to 27x on the LCD screen to ensure critical focus. While in Live View, the graphic indication of a virtual horizon is also available, making it easier than ever to confirm camera orientation.

To further ensure each photographer’s ability to balance their personal style, Nikon’s Picture Control System enables users to adjust their images to pre-set parameters such as Standard, Neutral, Vivid and Monochrome that apply tweaks to image sharpening, tone compensation, brightness, overall tone and saturation. Photographers have creative control over these image parameters with the use of up to nine available customizable presets.

Synchronizing Both Form and Function
Engineered for real-world functionality, the D3X retains a rugged shell with moisture, dust and shock resistance that has become a hallmark of flagship Nikon D-SLRs, while preserving the usability and ergonomics that allow the camera to remain an extension of the photographer’s vision. Attention to detail goes so far as to include a self-diagnostic shutter system that is tested to exceed 300,000 cycles for maximum durability and longevity. The camera’s body also maintains the resilient magnesium alloy construction and form factor of the D3, promoting consistent Nikon system synergy.

A bright and accurate viewfinder offers 100 percent coverage with 0.7x magnification. The body also houses Nikon’s acclaimed 3.0-inch super density LCD screen, now relied upon by so many photographers. The high-resolution 920,000-dot screen is viewable at wide angles up to 170 degrees, and will allow photographers to quickly zoom in to confirm critical focus. Users can also output the video signal to an external display via HDMI to allow client viewing. Thanks to incredibly efficient internal circuitry, the D3X can capture up to 4400* shots per single charge of the camera’s Lithium ion battery.

System Strength Withstands the Test of Time
The D3X is fully compatible with Nikon’s Creative Lighting System (CLS) to give photographers a mobile lighting solution that is easy to manage. To further enhance mobility, the D3X is compatible with Nikon’s GP-1 GPS receiver to gather information such as latitude, longitude, altitude and date of shooting. Photographers can easily shoot tethered via USB, or use the WT-4a wireless transmitter to send images wirelessly when speed and mobility are essential. D3X users will also enjoy the system strength of more than 50 genuine NIKKOR lenses that provide outstanding sharpness and high resolution across a broad range of focal lengths.

Price and Availability
The Nikon D3X will be available at Nikon Authorized Professional Dealers starting December 2008, and will be available for an estimated selling price of $7999.95.**

* Based on CIPA Standards
** Estimated selling price listed is only an estimate. Actual prices are set by dealers and are subject to change at any time.

About Nikon
Nikon, At the Heart of the Image™. Nikon Inc. is the world leader in digital imaging, precision optics and photo imaging technology and is globally recognized for setting new standards in product design and performance for its award-winning consumer and professional photographic equipment. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; COOLSCAN® digital film scanners; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics. For the second consecutive year, Nikon D Series digital SLR cameras are recognized as “Highest in Customer Satisfaction with digital SLR cameras, Two Years in a Row, Tied in 2008.” according to the J.D. Power and Associates 2007 and 2008 Digital Camera Usage and Satisfaction StudiesSM. Nikon Corporation, the parent company of Nikon Inc., recently celebrated its 75th anniversary of NIKKOR optics and announced the production of over 45 million NIKKOR SLR interchangeable lenses. For more information, dial (800) NIKON-UX or visit http://www.nikonusa.com, which links all levels of photographers to the Web’s most comprehensive photo learning and sharing communities.

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Nov 01 2008

One Moment More “Decisive” than Another

Images Copyright Vincent Versace 2008

By Vincent Versace

I was was taught since the tender age of seven, or should I say it was beaten into my extremely think head since the tender age of seven, that the background is every bit as important as the subject. That a great moment can be ruined by simply not paying attention the things that surround that moment visually. What makes this image work “better” in this gift of a moment from the Holy man I am photographing, is that the background is being provided by a fast moving bus. I saw the bus coming out of the corner of my eye. What I was thinking was I’m going to start shooting because things travel at the speed of life, but I’m going to do is say the  Photographer’s Prayer of “Oh please oh please  OOOOH PLEEEEASE…” and hope tha tall the moments hold for the bus to “happen” at the right moment. Just so you know I say that prayer a lot. I’ve made a career out praying.

In each instance, subject and I are connected, but in the images above the background takes something away from gift of the moment. What I’m suggesting you consider is this:

1) Pay attention to your background as much as you are paying attention to the “Decisive”moment.

2) Stay in tune with events that are happening outside the frame.

3) Use that awareness to your advantage.

4) Be willing to make a complete ass of your self if that is what it takes to get the shot.

5) That all images occur in the space between the subject and the photographer.

6) Remember to play and have fun, you are every bit “in the momment” as your subject is.

7) Learn how to pray while shooting.

http://www.acmeeducational.com/acme-blog/wp-content/uploads/2008/11/coolpix_p6000_india_001.jpg

images  captured with a Nikon D-700 and a 70-300mm VR lens at 1000 iso using the Nikon electronic file format (.Nef) Shot on Lexar 8 gigabyte UDMA Flash media. All files were post processed using capture NX 2.0 software.

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