February 24, 2014 - Announced today, the new Nikon D4S establishes itself as the premier HD-SLR available to professionals; unrivaled with its combination of incredible speed, accuracy, low-light performance and exceptional image fidelity. Designed for the most demanding photographers and multimedia professionals in the world, the Nikon D4S improves upon the revered D4 to give users enhanced image and video quality, improved autofocus (AF), faster performance during and after capture in addition to an astonishing ISO range.

Nikon’s D series of flagship cameras continues to push the boundaries of professional image quality, speed and features. The newly developed 16.2-megapixel FX-format sensor works in conjunction with the new EXPEED 4 image processing engine to deliver new levels of still and HD video quality and performance. A new Group AF function and overall improvements build upon Nikon’s proven 51-point AF system, while the camera breaks convention with an ISO range that goes to an incredible 409,600 ISO (Hi-4) for maximum versatility in nearly any lighting condition. Overall speed and response is also enhanced, capturing full resolution at an astounding 11 frames-per-second (fps) with auto focus and auto exposure (AE), while benefiting from an overall 30% increase in processing power.

“By announcing the development of the new Nikon D4S earlier this year, Nikon has been able to work openly with professional photographers in the field to hone the cameras’ core capabilities into an unparalleled tool that makes otherwise impossible images a reality,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “The challenges of today’s professional multimedia photographer go beyond simply capturing amazing content. After the shutter clicks, the workflow enhancements that the D4S provides will give Nikon users an obvious edge in the stands, the studio, on the sidelines or in the field.”

Extreme Speed and Accuracy

Whether shooting extreme action sports or elusive wildlife, the Nikon D4S has been engineered to be the ultimate combination of speed and accuracy, giving photographers the power to capture even the fastest moving, unpredictable subjects with confidence and control. The proven Multi-CAM 3500 FX AF sensor module’s thoroughly recalibrated AF algorithms quickly zero in on its intended target— no matter how near, far, or abruptly a subject appears in the frame. Additionally, the D4S includes a new innovative Group AF mode. When selected, this mode uses five AF points to increase stability while tracking subjects, and enhanced accuracy by reducing instances of background focus. In situations where the background is bright with strong contrasting colors, photographers can now feel more confident, knowing that small, distant and fast-moving objects can be rendered sharper, faster and more frequently. Nikon’s AF Lock-on technology is also upgraded, shortening time in reverting from focus interruptions, such as a referee running into the frame.

Hundredths of a second can make the difference when capturing the decisive shot that graces the front page, the double-truck spread, or the client’s mantel. With this in mind, the Nikon D4S also improves tracking on high-speed continuous shooting at a blazing fast 11 fps, with continuous AF/AE. Because missing the shot is just not an option, Nikon’s EXPEED 4 plays an integral role in the D4S’ seemingly instantaneous response and swift performance, while enhancing energy efficiency. The camera now features a processing time that is a full 30% faster, in addition to a 200-shot buffer (JPEG) at full resolution at the maximum continuous mode.

As a proven flagship for the world’s most demanding photographers, the D4S retains the features that made its predecessor the professional’s choice in the first place. The Nikon D4S HD-SLR aligns 15 cross-type sensors in the center to detect contrast data in both vertical and horizontal planes. In addition to detecting each AF-NIKKOR lens with an aperture of f/5.6 or lower, the camera also utilizes nine cross-type sensors that are fully functional when using compatible NIKKOR lenses and a teleconverter with a combined aperture value up to f/8, a great advantage to those photographing sports and wildlife from extreme distances.

The Advantage of Superior Image Quality

At the core of the Nikon D4S is a newly developed 16.2-megapixel FX-format CMOS Sensor (36 x 23.9mm), engineered to deliver an immersive dynamic range, with exceptionally low noise. This newly developed image sensor works in tandem with the latest generation of Nikon’s powerful image processing engine, dubbed EXPEED 4, to bolster image quality, color and sharpness in both stills and video. The benefits of EXPEED 4 go well beyond high-speed image processing to provide evolved real time noise reduction, along with depth and clarity gradation rendering. The resulting images exhibit a wide tonal range, with true and faithful colors.

Thanks in part to the new EXPEED 4 processing engine, the Nikon D4S now shatters the perception of what’s possible with available light photography, giving users a native ISO range from 100-25,600 expandable from 50 ISO (Lo-1) to a staggering 409,600 ISO (Hi-4). This amazing ISO range rewrites the rulebook for available-light shooting, and is especially useful for professional sports shooters, photojournalists, as well as military and law enforcement agencies. The powerful EXPEED 4 image-processing engine incorporates an entirely new algorithm for even higher ISO noise reduction and color fidelity, resulting in an enhanced overall sharpness and clarity without sacrificing subtle textures and luminous details. The enhanced ISO is also a major advantage for other professionals including wedding and portrait photographers, who can now confidently capture the darkest reception, a candlelit ceremony, or create crisp studio portraits with flawless fidelity.

Other advanced Nikon technologies also contribute to the superior image quality of the Nikon D4S, including a new enhanced standard Picture Control tone curve that gives greater depth and clearer color rendition, especially on skin tones. For additional versatility, users have the ability to toggle Face Detect AF on or off while shooting through the viewfinder, and white balance calculation has been further refined for accuracy, while spot white balance is employed for easier presetting with more options.

Nikon’s exclusive 91,000-pixel RGB 3D Color Matrix Metering III system returns on the D4S to help capture true-to-life colors while solving the most challenging exposures, from sun-lit snow to stadium lighting. The system works by meticulously analyzing the variables within each scene and recognizing factors such as color and brightness values with unprecedented exactness. This data is then interpreted and compared against the camera’s on-board database to implement various settings, resulting in vibrant images with faithful color reproduction and balanced exposure.

Faster Workflow During and After Capture

While shooting speed and response matter in the moment, workflow speed has become increasingly important in a more competitive landscape. The D4S delivers upon the need for that speed with features that are engineered for today’s professional:

• New RAW SIZE S files: In addition to shooting JPEG, full size RAW (NEF) and TIFF files, the Nikon D4S also has a new file setting to enhance workflow, RAW SIZE S. This setting allows for shooting 12-bit uncompressed Nikon NEF files that are approximately half the size (2464 x 1640) of standard uncompressed RAW files and are more easily manageable—speeding up the entire workflow process.
• Faster transfer rate: When connected via LAN, users can now transmit files using Gigabit Ethernet (1000 Base-T LAN). This significant decrease in transfer times means more time to shoot, and less time transmitting files.
• Improved battery life:  Despite its processing power, the D4S is remarkably power-efficient. With the addition of a new EN-EL18a Lithium-Ion battery, the D4S can easily outlast the action with up 3,020 (CIPA rating) shots in single mode and 5,960 shots (Nikon testing) in continuous mode.
• Dual card slots: The D4S uses both CF cards as well as the super-fast XQD card format to achieve the fastest possible transfer and write times.
• Video Features Fit for the Modern Production Environment
• With an increase in potent processing power, the D4S ups the ante when it comes to multimedia workflow and content capture. A versatile tool on location or on set, the D4S offers enhanced video quality and video-friendly features, in a compact and lightweight HD-SLR form factor. In addition to the innovative video attributes from the D4, the D4S offers the following new features: 
• Full HD video in variable frame rates: Users have the choice of various resolutions and frame rates, including a new 1080/60p option for increased flexibility in post. Users can also shoot at 1080 30p or a cinematic 24p, as well as various other NTSC and PAL frame rates and resolutions. By utilizing the B-Frame data compression method, users can record H.264 / MPEG-4 AVC format video with unmatched integrity for up to 29:59 minutes per clip.
• Selectable image area: Users now have the ability to select an image area in Live View mode to match the glass or shooting style. To best suit the scene, FX, DX (1.5x) and 2.7x cropping is available.
• Expanded ISO range for video and auto ISO control: D4S’ FX-format image sensor and EXPEED 4 work hand-in-hand to render a natural transition between bright and dark scenes, all while delivering rich tones, sharp edges and minimized noise, even at high ISOs. The D-Movie mode has awide standard ISO range — from 200 to 25,600 to shoot in nearly any lighting. Furthermore, the ISO can be pushed up to an ISO 409,600 (Hi-4) equivalent. Additionally, D4S lets you maintain manual exposure for controlled shutter speeds and aperture settings while the camera automatically dictates the ISO maximum sensitivity from 400 to Hi-4. For assignments with dramatic shifts in lighting, this can be a remarkably useful tool.
• Uncompressed 1080 60p: For the purest video quality, the D4S allows direct output of uncompressed files via HDMI. Output can be recorded to an optional outboard digital video recorder, making for an efficient editing workflow.
• Manual control: Like the D4 HD-SLR, D4S offers full manual control when shooting video for maximum creative versatility.
• Simultaneous recording: When recording to an external digital recorder via HDMI, the D4S can now simultaneously write to the CF or XQD card. This function is ideal for creating backups and recording while live-streaming content.
• Improved sound: The range of audio frequency is now selectable, with options such as Wide Range and Voice Range. Wind noise reduction and audio levels can be changed during recording.
• Smoother exposure transition during time-lapse and interval-time shooting: Creating breathtaking time-lapse movies is even easier with the D4S. The camera renders exposure transitions with unprecedented smoothness. Such scenes have been difficult to capture in manual or auto exposure mode, but now users can apply an auto exposure to achieve professional-grade time-lapse and interval-time shooting.
• NIKKOR lens compatibility: The highest caliber optics are vital to creating HD images and Nikon is the world leader in optics manufacturing with a legacy spanning more than 80 years. Nikon has a vast NIKKOR lens system, with more than 80 lenses including 65 FX-format lenses with a variety of focal lengths and features, including VR vibration reduction.

Pro Grade Construction and Controls

As a flagship camera for professionals, the D4S is engineered to excel in the world’s toughest environments, while giving pros the features needed to get the shot. The shutter has been tested to 400,000 cycles, and the camera chassis is constructed of lightweight and durable magnesium alloy. Additionally, the camera is sealed and gasketed from moisture, dust and electromagnetic interference to resist the elements. 

While shooting, users will appreciate a slightly modified control layout and ergonomics for faster and more comfortable shooting. Subtle changes increase grip and comfort, making the camera easier to hold for a wider range of hand sizes and more comfortable during prolonged use. Photographers will also benefit from composing through a bright viewfinder with 100% coverage. The D4S also features a newly designed mirror-moving mechanism, which uniformly and effectively absorbs mirror slap to minimize viewfinder blackout time. Even at 11 fps, this innovation makes it easier to track a fast subject through the optical viewfinder.

The wide and bright high-resolution 921k dot, 3.2-inch LCD screen of the Nikon D4S lets users easily change menu settings, compose and review images. Photographers have the ability to customize the color of the LCD monitor to better match studio monitors or personal preference. Additionally, the LCD monitor retains its auto-brightness function that automatically adjusts the brightness of the monitor to increase visibility and conserve battery life.

Price and Availability

The Nikon D4S HD-SLR will be available as of March 6, 2014 for a suggested retail price (SRP) of $6,499.95.

Sandisk introduces 128GB microSDXC memory card

• New technology innovation helps boost microSD™ card capacity by 1,000X in less than a decade
• Consumers can now store 16 hours of Full HD video, 7,500 songs, 3,200 photos and more than 125 apps, all on a single removable card

Feb. 24, 2014 – SanDisk Corp. announced the new 128GB2 SanDisk Ultra microSDXC UHS-I memory card, the world’s largest capacity microSD card. Smaller than the size of a fingernail, the new SanDisk Ultra microSDXC card enables consumers to use their phones and tablets as if storage limitations were never a concern, allowing users to capture thousands of songs and photos, and hours of video on a single, removable card.

“SanDisk’s high-performance 128GB SanDisk Ultra microSDXC memory card will reshape the way users interact with their devices,” said Stuart Robinson, director, Handset Component Technologies, Strategy Analytics. “Until now, consumers had to spread out their content between multiple products because the memory on those devices was not able to hold enough data in one place. This 128GB microSD card is going to be popular as the preferred removable storage option, giving users fast, secure and reliable access to their personal data archives.”

Ideal for Today’s Smartphone and Tablet Users

Designed for Android smartphones and tablets, the new SanDisk Ultra microSDXC card provides consumers the highest storage capacity available in a removable form factor. Ideal for shooting Full HD video and high-quality pictures, the 128GB SanDisk Ultra microSDXC card delivers twice the speed of ordinary microSD memory cards and offers the highest video recording performance available.

“The new SanDisk Ultra microSDXC card again demonstrates how SanDisk continues to expand the possibilities of storage so that consumers can benefit from our latest technology advancements,” said Susan Park, director, retail product marketing, SanDisk. “With 128GB of removable storage, consumers will enjoy the freedom to capture and save whatever they want on a smartphone or tablet, without worrying about running out of storage space.”

An Enhanced SanDisk Memory Zone App – Smarter Ways to Organize, Optimize, and Backup Android Smartphones

A new version of the SanDisk Memory Zone app (available on the Google Play store in beta) lets users easily view, access, and backup all of their files from their phone’s memory in one convenient place. As a part of the SanDisk Memory Zone app, SanDisk is releasing OptiMem, a new feature that allows Android users to enhance their phone’s internal memory by automatically transferring some of their old photos and videos to their microSD card4. OptiMem will continuously monitor the user’s mobile device memory levels, and inform them whenever the internal memory falls below a pre-defined threshold.

Technological Breakthrough

Compared to when the microSD card format was first launched in 2004 with 128MB of capacity, SanDisk has increased storage capacity of microSD cards 1,000 times over in less than a decade with the 128GB SanDisk Ultra microSDXC card. To enable 128GB of storage on a removable microSD card, SanDisk developed an innovative proprietary technique that allows for 16 memory die to be vertically stacked, each shaved to be thinner than a strand of hair.

“The technology used to design the 128GB Ultra microSDXC card is well in line with what mobile users expect, and demonstrates SanDisk’s commitment to mobility,” said Christopher Chute, research director, Worldwide Digital Imaging, IDC. “Being able to fit this much capacity into a microSD card smaller than a fingernail is a game changer, and expands the possibilities of what people can do with their mobile devices. The 128GB Ultra microSDXC card frees users from constant concerns around storage limitations.”

Pricing and Availability

The family of SanDisk Ultra microSD memory cards is available worldwide in capacities ranging from 8GB to 128GB with MSRPs of $29.99 to $199.99. In the U.S., the 128GB SanDisk Ultra microSDXC card is available exclusively at BestBuy.com and Amazon.com.

White Orchids, Black Background

When we first hung this image in our gallery, people thought it was made using fancy studio lighting. They were all way off. We didn't use studio lights or even a speed light. In fact, no flash or artificial lighting of any kind was used in the making of this image! None. The total cost for the lighting equipment in this shot is less than two dollars. Here's how we did it — and how you can do it, too.

• No flash or other artificial lighting was used
• This image was shot in our living room
• We did some minor editing in Photoshop to fade out the stem at the bottom, remove the stick supporting the plant, ensure the background was completely black, and widen the black area around the orchid

Before we get to the Photo Recipe, let's analyze the image.

The flowers are predominantly white. That's actually very important to keep in mind! Photographing white objects can be extraordinarily difficult. You need to use a long enough exposure so the flowers don't turn out a dingy gray, but you don't want to go overboard and blow out the highlights, either. The key to photographing white flowers is to get the texture spot on. It's fair to say that this image is all about light and texture and not at all about color.

The background, of course, is solid black. We used inexpensive black fabric and taped it to the wall, about five feet behind the orchid.


Let There Be Light

Next, think about the direction the main light is coming from. Look carefully at where the shadows are. The main light is to the left. It's nothing more than afternoon sunlight streaming in through a west-facing picture window.

And here's what else is very important: The plant is not facing the window! It's perpendicular to the window. In other words, the left side of the plant is pointing toward the window and the right side is pointing into the room, away from the window. That's the single most important thing about this entire image! If the plant was facing the window, it would be getting all the light straight on. And that's a very bad thing, because straight-on light is very flat. (That's why you use flat lighting to minimize wrinkles when you shoot portraits.) With flat lighting, everything would look the same shade of white, and we'd completely lose any sense of texture and three-dimensionality.

Earlier, we said this photo is all about texture. And we've also said that flat lighting hides texture. So, we need to avoid flat lighting. We want the light skimming across the orchid. By using this very simple technique of  “cross lighting,” we can maximize the texture. We played a bit, rotating the entire flowerpot until we found the perfect orientation. In the end, the plant is rotated a tiny bit toward the light.


Composing the Photo

You really need to put your camera on a sturdy tripod. It's the only way to get a truly sharp image. If your camera has a place to plug in a remote shutter release, do it. If not, you can set the self-timer so your fingers won't be in contact with the camera when the shutter fires. When you compose the image, be sure to fill the entire frame with the flower, almost to the edges. The extra black space you see around the orchid in the finished image was added by increasing the canvas size in Photoshop. If you don't fill the entire camera frame with the flower when you shoot the photo, you're just wasting pixels.

Next, you need to decide whether to zoom wide (or use a wide angle lens) and move in close, or zoom in (or use a longer focal-length lens) and move the camera back. We chose the latter because the smaller angle of view with a longer focal length meant we could use a smaller piece of black fabric. Next, we decided where to focus. We chose the colored center of the second flower from the left. That seemed to be the natural center of attention when we looked at the overall plant.

We're not telling you about the camera we used. That's because you can achieve the same results whether you use a pocket-size point-and-shoot camera or a big DSLR. What's important is that your camera lets you adjust the exposure.

We put the camera on the tripod and took a shot. Here's what we got:

So, what wrong with the image? It's just awful, isn't it?

The exposure was off, but we fixed that in subsequent shots. And the composition was mediocre. We fixed that by raising the camera several inches. But, the main problem is that the right side of the orchid is way too dark. That's what you'd expect, because the sunlight is coming through the window from the left. We need to get plenty of light bouncing back into the plant. And bounce is the operative word. Here's where our two-dollar investment in lighting equipment comes in: we used a piece of white foam board as a bounce card.

But where to place our bounce card? Since the main light is coming from the left, we held the foam board to the right of the orchid, fiddling with the angle until we got a bounce light that added just the right amount of glow. We ended up holding it to the right and a bit in front of the orchid.

And here is the Photo Recipe we used to make this image:

Ingredients:

• White orchid plant in flowerpot
• Bright window for lighting
• Table
• Camera capable of manual exposure override
• Cable release or hands-free self-timer
• Tripod
• Black fabric with velvet or plush nap
• White cardboad or foam board at least 18" x 18"

1. Look for a good location. Find a lot of bright, natural sunlight, but avoid letting the light fall directly onto the plant. We chose a room with a large picture window that faces west and lets the afternoon sunlight stream in.
2. Hang (or tape) a piece of black fabric on the wall. We purchased this at our local Joanne Fabric store. It's called Black Soft Cozy and is a very affordable $4.95 per yard.
3. Place the plant on a tray table, the kind you eat your pizza on when you're watching television. If that's too low for comfortable shooting, put a sturdy box on the tray table and place the plant atop that.
4. Position the plant several feet in front of the background and roughly perpendicular to the window.
5. Rotate the flowerpot to find the best angle that accentuates the texture of the white petals.
6. Use a bounce card to reflect light onto the far side of the plant and the underside, if necessary.
7. With your camera on a sturdy tripod, compose and shoot.
8. Bring the image into your favorite editing software. Fade the stem into black, remove any sticks and plastic clamps supporting the plant. Increase the canvas size so the orchid isn't right up against the edges of the frame. Finally, use a level adjustment and move the left slider in a bit to make sure everything that's supposed to be black really is.

Our final exposure was 1/80 second, f/5.6, ISO 200.


Finishing the Print

All of our prints are matted and framed using the highest-quality, museum-grade, acid-free materials. We'll be doing a separate blog entry about matting and framing. We print this particular image on Epson Premium Luster paper (even though we don't use Epson printers). This paper has a slightly textured, lustrous pearl finish that produces a deep, rich black. This image simply doesn't work if the background is not a deep, solid black.

We've made prints as large as 20 x 30 inches, and mount them behind a double-thick 8-ply white 100% cotton Crescent Museum Solids rag mat (white #2238). It all gets placed in a plain black 30 x 40 inch wood frame with Tru Vue Reflection Control glass or acrylic. That means the mat border on all sides is a healthy five inches. When you use a wide mat border with an 8-ply mat, your prints magically transform into gallery-like works of art.

If you go for a more modest 12 x 18 inch print on 13 x 19 paper, we recommend a four-inch mat border on all sides, resulting in a frame size of 20 x 26 inches. Alternatively, you could drop the mat border to three inches on all four sides, resulting in a standard-size 18 x 24 inch frame, but the impact just isn't the same.

Now it's your turn. Go out and make a great image!

Welcome to Photo Recipes

Friends have asked for years how some of our images were made. We’ll share some tips in the Photo Recipes blog, but gradually. Though we have many images, what we haven’t had in the past are wider shots and supporting text to document our set-ups and technique. As we create those set-up shots, we’ll post them along with the final result. Hopefully, you can leverage our experience to create your own masterpieces.