Q&A with Nikon's Chris Knapp

By Mike Zawadzki, Technical Consultant

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While we were all snowed in yesterday, I was able to have a short Q&A session with Christopher Knapp from Nikon.  Chris is a Technical Sales Representative at Nikon and a really knowledgeable guy.  Not only does he have good advice in terms of how cameras and lenses work, but he also knows how to best use the equipment to create interesting photographs.  He also  teaches Nikon classes at Unique University.

FOR THE BEGINNERS: In this interview, Chris has shared some of the most critical information you can learn as a new DSLR owner.

MZ: Nikon just announced two very interesting wide angle lenses: the 16-35mm f/4 VR and 24mm f/1.4.  What are the advantages of having VR in a wide angle lens like this?  Is there a plan to include VR on even more wide/normal lenses in the future?

CK: As far as the advantages, regardless of the focal length, being able to shoot at slower shutter speeds and still get spectacularly sharp images is greatly beneficial. The other huge benefit is related to composition. Because the VR system is in the lens, essentially, what you see is what you get. While there are certainly benefits to having VR in a lens, I doubt very much that all lenses will include the technology. There are certain applications that it would not be great for, or truly beneficial. Also, remember that VR adds size and weight to the lens as well.

16-35mm f/4 VR Sample Courtesy of Nikon Imaging

MZ: On the topic of VR, I often get asked how it works.  I understand it's pretty complex, but how would you explain it in layman's terms?  What is the difference between the original VR system that was created in 2001 and the new "VR II"?

CK: The easiest way to understand VR, and the technology used with it, would be to explain what is actually taking place inside the lens. In short, there are two sensors: one for pitch and the other for yaw (vertical and horizontal movements). These sensors send information to a microcomputer and adjust certain lens elements to compensate for the vibration or movement of the user. VR I lenses can provide up to 2 stops of compensation, whereas the VR II lenses can provide up to 4 stops.

MZ: The 24mm f/1.4 comes after long anticipation.  For newer DSLR owners, could you briefly explain why someone would want to use a prime/fixed focal length lens instead of a zoom lens?  Can you recommend a relatively inexpensive option for amateurs?

CK: The benefits of shooting a prime lens are evident to any seasoned shooter, but may not be to the average user. Obviously, given the newest example, you have the ability to shoot at an extremely wide aperture, not only for low light situations but also for great depth of field control. Because there is no zoom or VR in this particular lens, it is also much lighter and smaller in size. Using a prime lens also forces the shooter to explore the subject in a different way, by trying different angles for example, rather than altering a focal length.  An excellent budget option would be the new 35mm f/1.8. For around $200, the customer is getting a fantastically sharp lens that gives them the versatility that their kit lens likely would not.  24mm f/1.4 Sample Courtesy of Nikon Imaging

To the left is a portrait taken with the Nikon DX 35mm f/1.8G.  Trust me, Chris is absolutely 100% correct.  The quality that this lens delivers can't be achieved with a kit lens.  If you have any Nikon DX camera, you should have this lens.  I often get asked "I bought this camera, what's the next lens up?"  Customers are often referring to a zoom lens, but I would buy this little baby before anything else.

35mm f/1.8 Sample Courtesy of Nikon Imaging (Click to enlarge)

MZ: What would be your best advice for someone who is just getting started with a DSLR in terms of getting familiar with all of the functions?  What about general composition and framing?  I find that often people are inclined to say "Oh I can just fix it later with cropping and editing".  How true is this?  

CK: I am a firm believer in "shooting it right the first time" and I try to do my best to teach that as well. The more time you take to understand the camera, its functions and so on, the less time you are going to be spending in front of a computer screen. I would recommend that ALL shooters learn and understand the very basics of photography in's and out's. For example, things like aperture, shutter speed, ISO. Then moving on to more involved things like depth of field and controlling it. Composition is extremely important; it can either make or break any image very quickly. There are many rules to composition, but the best advice I can give anyone is to take a look at what they are looking at. I know it sounds silly, but it's true.

MZ: Obviously there is more flexibility when shooting RAW (.NEF) files, but what features in Nikon's Capture NX stand out from other RAW converters?
 

CK: With the CaptureNX2 software, you will have almost infinite flexibility when dealing with Nikon RAW files. From the very basic features like changing the White Balance from Direct Sunlight to Cloudy AFTER you take the photo, to the more adjust options of converting to black and white with a RED filter ... as if you shot it that way. You also have the opportunity to correct for exposure, not just brightness or contrast, but actual image exposure, after you take the picture (up to 2 stops +/-). CaptureNX2 is not only extremely powerful, but there is virtually no learner curve, and it takes far fewer steps to create the same edits that it would in some other third party applications.

MZ: Last question.  This kind of weather (LOTS OF SNOW) can provide for some very interesting shots, but all of the reflectivity of the snow is bound to confuse any camera's metering system.  What tips can you give for people looking to take great snow photographs?  What about protecting your camera . . . is it safe to have a DSLR out in the bitter cold?
 

CK: The cameras are tested under a shooting environment that ranges from 0-40 degrees Celsius. That does not mean that the camera will not function, it just means that it may not function to it highest performance if shot under temperatures outside of that realm. Unless you are shooting in extremely cold environments, the camera will be fine provided it is not getting soaked, but the battery is where the issue lays. I would recommend that the shooter have at least one other battery in their coat pocket, keeping it warm, and swapping out the battery in the camera every 15-30mins. This will help prolong the charge of the battery during cold times.

Shooting snow is not easy, especially on sunny days or when there are heavy highlights and shadows in view. I tend to underexpose the image slightly to avoid blown out areas, but you want to be sure that your shadows are not grey or so dark that the area is "gone." Nearly all DSLR cameras now include a feature called bracketing as well, where the user can select a threshold for a certain number of images with the camera altering the exposure slightly for each. White Balance is also extremely important, and this is when the "rules" do not always apply. Sometimes cloudy might be a great setting, other times something closer to direct sunlight might be. You can also do a White Balance bracket in most DSLR cameras as well. Best advice: Bracket when in doubt.

Snow Samples were taken with a D300s. Courtesy of Nikon Imaging (Click to enlarge)

Below are two snow shots that I took with my D700 and 14-24 f/2.8 lens. If I had not shot these in RAW format, there is no way that I would have as much detail in shadow or highlight areas. Shooting snow scenes is very tricky as Chris explained. My method is very similar and these were not the only two shots I took that night. I bracketed until I found a good balance between shadows and highlights. Additionally, the flexibility when converting into black and white was superb. If I had tried to do this with a JPG file, I would have lost a lot of control in the tonality of the image.

 

MZ: THANK YOU, CHRIS! Your advice is invaluable and I hope everyone who took the time to read this little interview got a lot out of it.  Please stop by the Unique Photo showroom anytime to check out any of the products we talked about today.  Additionally, if you have any other questions for Chris, please leave a comment here and I will be sure to forward it to him and add it in a future blog post!

The Hitchhiker's Guide to Photo 1

By Mike Zawadzki, Technical Consultant

Please leave comments!  I want to hear from you!  I know a lot of people are viewing this page, but I want you speak up.  Go ahead; bash, praise, or critique me . . . I appreciate all of it. Hearing back from you, the readers, helps us make better posts!

It was only a few years ago when I first walked into the Unique Photo showroom as a confused photography student with a crumpled list of supplies I needed. 

I had no clue what I needed or how any of it worked.  In fact, I initially signed up for the photography course because I assumed it was going to be a digital photography class and that I wouldn't need to buy anything.  Boy was I wrong!  All of the stuff added up to more than books would for any other class.  Now that I am on the other end working in the Unique Photo showroom, I often get asked, "Why do they still make us use film? Isn't digital better?"

Honestly, I could have a whole series of articles and discussions about the merits of shooting film, but the answer I usually give is that shooting black and white film is a different animal than using a digital camera.  Trust me when I say that I love my digital SLR and the benefits of a secured instant image that doesn't rely on being possibly ruined in development are tremendous.  However, I wouldn't be the same kind of photographer that I am today without learning black and white film first.  And I still use it all of the time.  Here is a picture I snapped just last night of my 4x5 view camera that operates on technology from the 1800's.

The anticipation, frustration, and patience that comes with exposing, developing, and printing my own negatives built a strong creative and technical foundation that I still rely on to this day.  Additionally, the sense of community and camaraderie that forms between people in the darkroom is amazing.  I have met some of my best friends under glowing orange lights.  There is a certain smell that you won't like at first from the chemicals; it lingers on your clothes, but eventually, it reminds you of home.

So what are all of the numbers about?

If you are in a beginning photography course, you want to purchase 35mm film.  35mm refers to the format (size) of the camera you are using.  It is still the most popular and best selling format of film because of the ease of use.  

The 400 on the box to the upper left indicates film speed (ISO/ASA).  This is how sensitive the film is to light.  You will understand this better once you get into the whole mess of exposing and making mistakes, but your instructor will explain it as well.  400 is a safe film to start with because it can be used hand-held in a variety of lighting conditions and is usually more forgiving than a slower speed film.  

35mm film rolls also come in two different lengths: 36 or 24 exposure.  24 exposure rolls are slightly less expensive, but I'd recommend paying a quarter or so more for 12 more exposures.  If you're a photo "newbie", you're going to need the extra exposures to really get a grasp on how this stuff works!

So there seem to be mounds upon mounds of 35mm film, which do I need?

Your professor will give you a list of required materials and usually specify which film you'll need for the class.  However, if you don't have a list, here are three film stocks you can't go wrong with as a beginner: Kodak Tri-X 400, Ilford HP5+, or Fuji Neopan 400.  In case you want to know more about this film or you want to purchase some right now, I included a direct link to each of the film's pages on our website.  I would recommend purchasing extra rolls because you are bound to mess up a few and running out of film when you really want to photograph something is one of my worst nightmares!

**WARNING THERE ARE TWO PRODUCTS YOU CANNOT USE FOR YOUR CLASS! **
KODAK BW400CN & ILFORD XP2 SUPER.

These two films are great!  If I wanted to shoot black and white and get my negatives developed here at Unique Photo or at a pharmacy, I would use either one of these films; however, part of a darkroom course is developing your own film and prints.  The Kodak film has an orange base to it, so it will look gray and flat if printed in a black and white darkroom.  I work as an assistant in a University darkroom and I often see students angrily throwing away their negatives because they bought these products thinking it would develop in the black and white chemicals the school supplies.  It doesn't work!  Even though it says 35mm 400 B/W film (which covers all of the specs you are looking to purchase for your class), it is developed in totally different chemistry that is used mainly in photo labs.  Again, it's great stuff, especially for scanning and archiving, but not for a traditional black and white darkroom.  STAY AWAY!  (For now.)

Ok phew, that was a lot to take in.  So I see this expensive paper is also on my list and there are piles of this stuff all over.  Which one should I buy for my class?

Just like film, there is a wide variety of printing papers available for you to choose.  It may be confusing and again, your instructor will probably specify which paper they want you to purchase, but you absolutely cannot go wrong with a 100 sheet box of 8"x10" Ilford RC Pearl.

Papers come in different sizes ranging from 4"x6" up to 30"x40".  They also come in different quantities such as 25, 100, or 250 sheet boxes.  If you're on a budget, a 100 sheet box will be enough to get you started, but you will probably end up using a lot more.  So if you have the money to spend, go for the 250 sheet box.  It's always more efficient to buy in larger quantities with this stuff and your wallet will thank you later.  (You will thank yourself later as well because you won't be in the darkroom reaching into an empty Ilford box.)

Papers also come in two different bases.  You will notice some packages say FB (Fiber).  I use fiber paper all of the time because of the rich tonal qualities it can deliver and I like the heavier weight of the paper, but it is also more expensive and tricky to use.  Once you get the hang of RC (Resin Coated) paper, then I would recommend trying a fiber based paper. 

There are also different finishes to the papers.  Above, I recommended Pearl because it is my personal favorite Resin Coated paper.  It is not too glossy and it isn't a complete matte or textured paper either.  Basically, I think it's a good product to learn on and most instructors will as well.  However, if your list has Glossy or Satin as options, you may want to check a smaller package of those out as well to see what you like.

There are also warm & cool tone papers.  If you are a beginner, these papers will work fine just like any other RC paper, but until you understand why you would want to use these papers, stick with a neutral paper like the ones I linked to above.

Alright, so I am going to be developing all of my film and prints.  I don't want to ruin them by just shoving them in my bag, how can I protect them?

It may seem silly at first to buy dedicated plastic sleeves for storing your film and paper, but trust me, you don't want to just cram your negatives into a binder.  Film is very sensitive and will scratch easily.  The prints you want to keep are precious and you don't want to bend or rip those either.  Printfile makes negative and print preservers that fit right into a 3-Ring binder.  You're going to be investing a lot of your free time into photography now.  Scratching a negative happens to everyone at some point, but you can minimize the chances of it happening by putting them in protective sleeves.

Film, paper, and sleeves.  Is there anything else I absolutely need?

This is a tricky question.  I don't know every University's darkroom setup.  You should reference the list your professor handed out on the first day.  Some darkrooms have plenty of printing filters to use in the darkroom while others don't.  You won't have to purchase any of your own chemistry in a beginning course and processing tanks/reels should be provided as well.  Both filters and processing tanks/reels are some items you may decide you want to purchase so you won't have to share the community items.  There's nothing wrong with sharing, but people really beat the heck out of this stuff and all universities are on a pretty tight budget, so they're going to hang onto this stuff until it is absolutely unusable.

Unlike the physically invisible files (you can't jam them in a sleeve or drop them on the floor) that you end up with in digital photography, your negatives are bound to get dirty!  Dust is everywhere and is one of the most annoying aspects of photography!  There are a couple ways to fight dust, the first being protective sleeves (see above).  An anti-static cloth is a special cloth with magical powers that you can use to wipe your film safely.  Do not try to use a paper towel or you will regret it dearly.  A good ol' can of Dust Off can't hurt either; just make sure to follow the instructions so you don't squirt any of the liquid accidentally. 

Some dust just won't go away and will show up in your prints as little white hairs that are distracting.  Black and white darkroom work is a messy process and even the most dedicated neat freaks are bound to have some dust specks on their prints.  If you can live with it, God bless you because it bothers me to no end.  Retouching pens will help you clean up the little imperfections on your prints.  Before marking up your final print, I would try these on a throw away or a test strip, just to see how they work.

I can't think of anything else right now that you would need for an introductory course.  Photography is an expensive, but rewarding hobby.  I hope this little write up helped you beginners out there.  Please leave any questions or comments right here on the blog and I will be happy to answer them.  If you have a more detailed question, don't be shy.  Post it right here or shoot me an email: mikez@uniquephoto.com 

Happy Printing!