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The Photographer’s Guide to Capture NX – This Article Goes Great With These Products

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A short summary of this paper. Odell, Ph. Odell All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means without written permission by the publisher, with the exception that owners of this e-book are permitted to print a single copy for personal use.

Odell, unless otherwise indicated. Trademarks All terms in this book that are known to be trademarks or service marks have been appropriately capitalized. Aperture is a registered trademark of Apple Computer, Inc.

U point and Nik are trademarks of Nik Software, Inc. Photoshop and Lightroom are registered trademarks of Adobe Systems, Inc. Windows is a registered trademark of Microsoft, Corp. Disclaimer This book is not sponsored by Nikon Corporation or its affiliates. Every effort has been made to make the information contained in this book as reliable as possible, but no warranty of fitness is implied. The author and publisher shall not be responsible in any way for any damages or loss of data arising from the information contained in this book.

Some used Capture NX, others did not, but they all had something to share about their experiences with post-processing and digital imaging.

Rick Walker continues to be a great friend and a source of ideas for photography. His willingness to help others find their passion in photography is unsurpassed. Vincent Versace has helped me to better understand the creative side of Capture NX, and reminds me that despite all the sophisticated equipment, the print is what matters most.

Many of the chapter images in the book were captured while I was on a Nikonians photo trip. Most of all, I want to once again thank my wonderfully supportive wife, Elissa. Without her support, I never could have put this project together. First, the eBook format allows me to deliver my content around the world nearly instantly, thanks to the Internet. Second, by producing an eBook, I can easily and quickly add supplementary materials and revise content without having to reprint copies. Beyond those two reasons, the electronic book format has some significant advantages over its printed counterparts.

First of all, this book contains bookmarks in the table of contents. Clicking a TOC entry will take you directly to that page. Clicking these links will take you either to a page in this book, or to a website on the Internet. This added level of interaction is something I hope makes this book easy to use.

Can you print this book? I recommend using a print service instead of your inkjet printer, but the choice is up to you. Should a commercial print service deny you a printed copy due to copyright issues, refer them to the copyright page in this book.

I suggest printing two pages per sheet in landscape orientation; this will keep related topics together. What if you lose my eBook? Treat this book just as you would any other book in your library. A listing of them is in Appendix 2. I also may post coupon codes for other products there from time to time.

Registration is free, and you can access their moderated discussions and resource articles. To hear more of my thoughts on digital and film photography, tune in to The Image Doctors podcast at Nikonians.

For links to all the latest articles on Nikon gear and photography from around the world wide web, take a look at Nikonlinks. Keep in mind that Capture NX2 is a large toolbox with a variety of tools. Not every job you come across will require all of these tools, but they are there if you need them. Other RAW converters will only read white-balance WB settings from your NEF and interpret everything else tone, color, sharpness using their own default settings. Often times, this means less work in post-processing, especially if your camera settings were optimal.

Automatic Adjustments Capture NX2 implements many corrections automatically, saving time during editing. If anyone knows the properties of the Nikon camera sensors, it is Nikon themselves.

The RAW converter generally allows the photographer to make global changes to the image changes that affect the entire image , but then local changes like dodging and burning must be performed in a separate application on a RGB image file TIFF or JPEG.

Non- destructive editing is possible in other applications, but often involves doubling or tripling the file size. Which would you rather have– a 20MB file or a MB file? Again, the savings in storage requirements are profound. A single 20MB NEF file could easily contain the instructions for producing five different image variants of different sizes and qualities.

Here is an overview of some of the new features found in Capture NX2. At the end of the day, you may find yourself using Capture NX2 for the majority of your editing and relying on other applications less. I always keep a copy of Photoshop around for the times when I need to add effects such as these to my images. Evans, Colorado. Who wants to spend time in front of the computer when you can spend time behind the lens? Which one to choose?

In fact, I strongly recommend that beginners shoot RAW. A digital RAW image is not actually an image at all. It is a package of data produced by your digital camera.

Some of that data comes from the image sensor. Other pieces of information include shooting information like shutter speed, aperture and lens focal length. In and of itself, a RAW file cannot be displayed as an image. The images you see on your computer screen are RGB images.

Just as a color print negative needs to be properly processed and converted into a positive print, the camera sensor data needs to be properly interpreted to produce an RGB image. Consider it the same as a choice between taking your film to the local drugstore for developing and printing or setting up a home darkroom.

While the automated printing machines at most photo labs did a decent job overall, there were situations where the automated settings were clearly not appropriate. I once went out to the Mojave desert to photograph the Hale-Bopp comet. At the time, I was simply shooting print film and I had it processed at a local budget lab. Sure enough, the machines in the lab were fooled by the excessively dark background essentially black and adjusted the exposure to a middle gray value.

All my prints came back looking grainy and gray, when I knew the sky should have been printed dark. I had no way to go back and change the prints. You can think of your digital camera as being a self-contained photo lab when you shoot in JPEG mode. The resulting JPEG file will have some, but not much, latitude for adjustments and corrections later on in your computer.

It is fairly compact, it can be compressed, and if produced properly it can make excellent prints. But there are some significant limitations to the JPEG file that make it less useful for photographers wishing to get the maximum quality from their cameras. This means that when you save them, the JPEG compression algorithm which makes the files smaller actually throws away image data.

Every time you save a JPEG, some data are thrown away. Therefore, if you wish to use JPEG as your digital negative, it is imperative to use the highest possible quality setting and always save your processed images as copies. Overwriting the original JPEG file results in unrecoverable data loss. JPEGs are 8-bit color. On the other hand, a bit image offers the photographer potentially 65, steps of tonality.

Is that overkill? What if you set the white balance wrong, or accidentally have noise reduction set too high and lose image detail? L-R Original image. JPEG image corrected using standard tools. Especially to those new to photography, who might not be experts at dialing in the optimal camera settings for a particular scene, shooting JPEG is a liability.

The images below are an example of what happens when I make a mistake which happens a lot, according to my wife. The as-shot image was overexposed by at least 1. So what is a photographer to do? Clearly, the optimal format to save images in must preserve as much image data as possible, offer a bit color space, and allow the photographer the flexibility to override the settings set by the camera. This is exactly what the RAW format does.


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