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Nikon Capture NX 1.3(含说明PDF文档和特别文件)

Cpature NX一经问世即获殊荣，赢得2006-2007年度欧洲影像革新奖。那么，它的革新在哪里呢？EISA是这样说的：“Nikon软件公司的U点技术包括在尼康最新的图像软件Capture NX1.3中，提供摄影师特别的工具对色彩、色调、亮度、对比度进行控制。无需选择任何区域或使用蒙板，很容易根据摄影师的要求调节个别区域色彩。这项强大的功能可以用于JPEG、TIFF或NEF（尼康电子格式）图像文件。允许仅调整版式而不改变原始文件。最终结果可以输出为NEF格式文件。”这段话简明、扼要的说明了NX软件的主要优点。

http://nikon-asia.com/downloadstuff/Software/CaptureNX_1.3_Updater/NX1.3_SC.EXE 简体NX1.3下载地址
http://chsv-soft.nikon-image.com/int/manual/cn/CAPNX13_T_(15)01.pdf 简体NX1.3说明手册

相关教程:CaptureNX快速掌握(PDF) 上海产品摄影

其余Nikon Capture NX1.3.0版针对以前的老版本1.0或1.2所作的修改：

-增加了对使用D3和D300拍摄的RAW相片的支持；

-增加了对相片控制的支援。在“基本调整”中的相机调整中增加了相片控制项目。相机调整中的色彩模式、色调补偿、饱和度和清晰度项目，以及RAW调整中的色调调整已经移到新的相片控制专案；

-在基本调整中的RAW调整中增加了Active D-Lighting项目。此功能只能用於启用Active D-Lighting时拍摄的RAW影像；

-白平衡专案已经移到基本调整中的RAW调整中，并且增加了钠蒸汽灯和高温汞蒸汽灯(7200 K)设置；

-RAW影像目前可用无损压缩方式保存。以无损压缩RAW格式拍摄的影像现在可以无损压缩的RAW格式保存，而不受相机型号的限制（但仅限使用尼康数码SLR相机拍摄的影像）；

-以前只能用於RAW影像的虚光控制功能现在也支援JPEG和TIFF影像（但仅限使用尼康数码SLR相机拍摄的影像）；

-对用鱼眼镜头拍摄的影像进行修改的功能（以前在“基本调整”中的镜头调整中）现在也可用於使用AF Fisheye-Nikkor 16mm f/2.8D拍摄的影像；

-以前在“相机设置”面板中提供的RAW影像编辑功能已经去除。

Carl Zeiss名詞解釋

Biogon:

Biogon 鏡頭的外型是由DR. LUDWIG BERTELE發明，它現今在光學史中扔是設計的水準標記。其設計深受攝影家喜愛，經年不衰。因為相機內沒有反射鏡，可以讓鏡頭和底片之間的距離很小，此其優點之一。因此，鏡頭的設計工程師就研發出這支Biogon 頭，它幾乎可以完全矯正變形現象。Biogon 鏡頭的設計幾乎是對稱的，它的變形現象比單眼相機所使用的DISTAGON廣角鏡頭還低。它深受專業攝影家的重視。一般攝影時，均愛使用它，因為它在任何攝影情況下，均有出色的表現。
在1932年，Sonnar型鏡頭更進一步的發展引導出了Biogon f/2.8鏡頭的設計。這是一隻35mm系統的高速、廣角的鏡頭。第一隻Biogon鏡頭是由6片鏡片分成4群所組成。在1952年，它由7片鏡片所組成的新設計所取代以獲得更優秀的像場亮度以及對變形的進一
步改善。從此之後，Biogon的標誌在其他同等級的廣角鏡頭中被Carl Zeiss建立了一個標準，因為它非常的快速且像場也特別地平坦。這個特色也同時表現在Biogon f/4.5（120系統）這隻由8片5群所組成的超廣角鏡頭上，它能夠提供的角度達到90°。
這個焦長只有像場對角線一半長度的Biogon鏡頭能賦予全部的影像範圍幾乎完美的解析度和色彩飽和度，即使在全開光圈的情況下。桶狀變形和影像邊緣的失真相對上是不存在的。Biogon特別適合在建築、時裝模特兒和全景攝影，也適合拍攝在狹窄空間中的機
器或是工業流程。
　
Hologon:

Holgon鏡頭是廣角鏡頭中最有名的鏡頭。由Dr.Glatzel博士在60年代早期所發明的，15mm f8 Hologon 鏡頭110度畫角，沒有光圈葉片，變形的矯正非常優秀，對於超廣角鏡頭來說是非常難得的。
Holgon 鏡頭是廣角鏡頭中最有名的鏡頭。這個鏡頭是在60年代早期由Dr.Glatzel所發明的，這個超級廣角鏡可以在106度的角度內製造出沒有變形的影像。Holgon這個字是由希臘holos所衍生的-----意思是全部，你可以將每一樣東西拍進一張相片裡，因此在風景及建築攝影中就變得非常有名。Holgon的鏡片弧面幾乎是半球面及完全平面所組成，製造這種鏡片需要特殊的的技術，而且鏡片的定位必需非常的精準。目前只有Zeiss有能力依照規格生產這種鏡頭。Holgon稱得上是光學史上的藝術品，也是現在買得到的鏡頭中最神奇的鏡頭。
15mm f8 Hologon for LEICA 這隻鏡頭並不是因為光學表現優異 (變形矯正及顏色反差非常棒，但畫面明度不均勻，必須藉由原廠濾鏡才能使畫面亮度均勻) ，而是它的光學構造只由3片鏡片所構成的，如果對鏡頭有認識的話，應該知道廣角鏡頭是最難設計的，因為會有嚴重的變形所以要用鏡片矯正，通常20mm以下的超廣角鏡頭用個十幾片鏡片矯正是很正常的事。雖然光圈不夠大，也不如Zeiss 15mm/3.5 實用 (Leica 那隻15mm/3.5鏡頭是Zeiss做的而Nikon的15mm/3.5鏡頭則是向Zeiss買設計圖自行生產的，由此可見蔡司的設計實力) ，但Hologon有其獨特的魅力。
LEICA 那隻名鏡(Hologon 15mm f8)由於總產量不超過350支，非常稀有二手的在美國要價8000到一萬美金。Holgon稱得上是光學史上的藝術品，也是現在買得到的鏡頭中最神奇的鏡頭。(G系列那隻鏡頭是德製的，要買德製鏡頭的人可以考慮，如果只是平常拍照，不用到望遠及Macro鏡的人可以考慮G系列，因為每支鏡頭都比單眼的優秀。)　

Distagon:

Carl Zeiss選擇＂Distgon＂這個名稱做為後焦距（鏡頭最後一片鏡片到焦平面的距離）長於實際焦距的廣角鏡名稱。這種設計型式的廣角鏡在單眼相機上是特別有需要的。
在Carl Zeiss的鏡頭群中這型式的鏡頭毫無疑問的是一項重要的產物。最多可使用到13片鏡片的結構設計以得到像f/1.2這種在廣角鏡中非常高速的光圈，或是在攝角達110°時仍可維持較高的光圈速度。除了具備廣角的條件之外，Distagon鏡頭允許單眼反光機的反光鏡在最後一個鏡片和呈像平面之間的空間移動，這個距離在廣角鏡的焦距中是非常長的。
Distagon鏡頭能在高速、廣角和較長的後焦距情況下，提供優秀的像差矯正和影像品質。透過浮動鏡片的設計，或是在必須的情況之下使用非球面鏡片，使得Distagon型鏡頭在近距離拍攝時也有優異的影像品質.

Planar:

Planar鏡頭是Carl Zeiss鏡頭設計的代表作。它實現了們對於清晰、原色重現，及豐富的漸層的最高要求，這種鏡頭的絕佳表現能力，除Carl Zeiss能做到外，無人可及。Carl Zeiss鏡頭銳不可當的表現力超過任何攝影家的期望。
Planar 型鏡頭是由P.Rudolph博士於1896年在Zeiss所設計出的。這是鏡頭發展史上一個重要的里程碑。它是第一個能夠在大光圈時提供無像散的像場且能對球面像差做高度的矯正。這款鏡頭在追求高速的同時也能對色像差有傑出的矯正。傳統的Planar型設計，是由兩組對稱於光圈的透鏡所組成。尤其以光圈兩旁相對稱的高曲率透鏡弧面形成一個近似封閉的空間為其特色。由於這種設計有Gauss型望遠鏡頭的特點，所以這種目前被許多鏡頭製造廠商所使用的設計型式，都統稱為Gauss型鏡頭。
在20世紀，這型的設計更進一步引導出高速鏡頭的設計，例如為35mm電影機所設計的Biotar型高速鏡頭（f/2，f/1.4），或是光圈值達f/0.85的X光機鏡頭，發展給NASA用的50mm f/0.7 Planar。
新的Planar型鏡頭維持數十年來的傳統，將起始光圈設定在f/3.5至f/0.7之間。Planar型鏡頭也能將所有鏡頭工學上重要的改良立即吸收到它的設計之中。這項特色使得現代的Planar鏡頭始終居於領導地位。
即使在全開光圈下，整個像場上也都能呈現優越的解像力，使得Planar鏡頭真正地成為一支世界性的鏡頭。而它也特別適用於中型相機和135相機。

Sonnar:

Sonnar鏡頭採傳統式的設計，攝影家們以尋求多年。過去幾年中，不斷地加以修改，如增加其速度，減少鏡頭的像差，以達到令人難以置信的準。Sonnar 鏡頭針對小型快拍或正式人像均非常理想，即使採全面光圈它也可為影像區邊角提供高對比。

Sonnar 是採用傳統型的設計。大約在60年前，隨著Sonnar f/1.5和f/2這兩個高品質、高速的鏡頭出現，對35mm系統的攝影具有決定性的貢獻，並取得了重大的成功。Sonnar型鏡頭的小尺寸和較短的後焦距對新型35mm系統相機的進一步發展是非常重要的因素。
Sonnar型鏡頭的發展在往後很快的使這型鏡頭能運用在長焦距鏡頭和大尺寸的底片上面。
到目前為止，這型的鏡頭不斷地改善和更進一步地發展。大量的新型Sonnar都有高速、銳利、色彩飽和和優秀的像場照明等特色，一些特別的長鏡頭在專業或業餘的人像攝影、望遠攝影、新聞攝影、舞臺攝影或科技上的攝影都有極高的評價。

Tessar:

Tessar 型鏡頭是由P.Rudolph博士在1902年所設計的。特色是用最少的光學鏡片卻能得到最高品質的影像，Tessar型的鏡頭已經在世界上很普遍地被使用，這是Rudolph博士這項精巧設計的巨大成功。90年來Tessar型鏡頭已經建立起它獨特的地位，隨著鏡頭設計和光學鏡片的發展，更加證明瞭這項產品的靈巧方便和經得起考驗。它在鏡頭設計史上的藝術地位已經被確立了。今天，Tessar鏡頭意同於銳利的解析度、高透光率、均勻的像場亮度和傑出的變形矯正。這個型式的鏡頭使用在彩色攝影上不需要更改任何設計以消除色像差的問題。如同所有的Zeiss鏡頭，Tessar鏡頭在設計時就已經做好色彩矯正的工作了。
Tessar鏡頭現已被廣泛地使用在風景、建築、人像和運動等攝影上。

Tele-Tessar:

與像場的對角線相比之下，Tele-Tessar型的鏡頭有一個長的焦距。這型鏡頭所提供的優勢是它的設計簡單，同時能使最前面的鏡片到底片的距離比實際焦距還短，有時可以減少到25%的長度。
這型鏡頭的特色是擁有4到6片的鏡片，且前組聚集的鏡片群和後組較分散的鏡片群之間有一段長距離。後組的鏡片相對之下比較小因此允許光線通過狹小的機身孔。也因為重量輕，所以能夠手持拍攝，即使用的是600mm長鏡頭。
第一隻Tele-Tessar鏡頭是由W.Merte於1921年在Zeiss開發出的。由於使用新型的鏡片，適當的光學特性加上廣泛地使用電腦系統來輔助設計，使得今日的Tele-Tessar鏡頭有著非常優異的表現。也因為鏡頭的角度可以小到4°，所以當你從觀景窗看出去的時候，它就像是一支有力的望遠鏡。
在長距離、運動、新聞、探險考察的攝影領域中，Tele-Tessar型鏡頭是一個完美的選擇。而較淺的景深也時常被運用成為影像的特質。

T* Coating:

二次世界大戰以前，所有的光學系統都有一個共同的問題-------即使它們的光學設計都.非常的完美也是一樣 ﹕這個問題就是影像品質下降。是因為在所有空氣與玻璃的交界處都會產生反射。這個問題的解決方法是Zeiss科學家亞歷山卓斯馬庫拉博士（Dr.Alexander Smakula）所發現的，他發明瞭防反射鍍膜技術並且獲得1935年的專利，過了好幾年才將其中的秘訣公開。這項發明的其中一個目標是要去降低軍事雙筒望遠鏡所產生的反射，避免敵人偵測到觀測兵在哪裡。不過，主要的目標是降低玻璃和空氣接觸面所產生的反射。這項發明改革了所有光學技術的領域，而且也可以設計配有很多鏡片的高性能鏡片組，而且也不會降低對比。從那時起，Coating 就用來增進光線的傳輸。不過，防反射鍍膜的進展並未因此而停頓下來。多層鍍膜的使用甚至可以壓制一些廣泛範圍光線的反射----最後發展出有名的T*- coating，從1972年Carl Zeiss就使用在鏡片上。
今日，Zeiss利用鍍膜法讓Zeiss的每一個鏡片傳輸正確的顏色就是說， Zeiss充分利用整個光譜傳輸，包括每一種玻璃類型的光譜吸收來獲得整個光譜傳輸需求。和一般中性鏡片做比較，能夠高度傳輸藍色區段光線的鏡片叫做冷鏡，而能夠高度傳輸紅色區段光線的鏡片叫做暖鏡。要達到預期的效果，常常需要根據用在個別鏡片上特殊玻璃的折射率，規定每一種鏡片表面個別的鍍膜法-----當然，這樣會讓製造過程變得更複雜而價格相對提高。
鏡片的外表和的表面大部分的時候都很乾淨，但有時卻髒的很難處理。針對這個問題，改進鍍膜的耐久性就成為所要達成的重要目標。
在離子法鍍膜過程中，使用具有高能量的氣態離子。這些具有高能量的離子的使用有二種目的 ﹕其中一種就是，它們會釋放鍍膜的原子動能，讓原子加速。另一種目的是：它們讓這些基本鏡片的表面引起震動，讓鍍膜的原子能更緊密結合在一起。因此這些離子將鍍膜的原子帶到最適當的位置上。傳統的防反射過程裡，那些沈積的材料容易形成不正常的柱狀晶形-----沒有離子撞擊，結果變成一個不鬆不緊的結構。離子法鍍膜過程可以產生很光滑的表面，在硬度的增加和耐磨性的改進都有很好的效果。
讓我來說明更進一步方法T*--coating。這種光學相位校正鍍膜是Zeiss特別為了雙筒望遠鏡內部的頂部稜鏡（roof prism）所發展出來的，頂部稜鏡所發生的相位移.對於有使用頂部稜鏡的雙筒望遠鏡，嚴重影響其影像品質----這是Zeiss的雙筒望遠鏡可以提供給使用者的另一種更好的品質。

其他 ZF 資料

Carl Zeiss ZF

Zeiss的名字大家一定不會陌生,其頂級的光學科技數十年來也是聞名海外,但F-mount的nikon用家一直沒有機會可以正式體會,的確可惜....但自從日本的cosina同carl zeiss合作,為其推出了7支高質素的定焦鏡頭後,一眾nikon用家便可以嘗試高質的"副廠"鏡了~
7 支 F- mount (即Nikon mount) ZF分別為Distagon T* 25/2.8, Distagon T* 28/2, Distagon T* 35/2, Planar T* 50/1.4, Marko-Planar T* 50/2, Planar 85/1.4 和 Marko-Planar T* 100/2

ZF鏡的基本資料,特點:

1. 全金屬製造,其冰涼的手感和扎實的造工,會使你感到ZF的穩定和高質,是一眾NIKON新鏡的不可比
2. 全MF手動對焦,沒有AF,但其設計以手動對焦為首,金屬的對焦環手感好,對焦行程穩定,暢順,與一般AF鏡MF用不同,使用家樂於"手動的自主", Nikon的新機如D40,D80,D200,D300等的VF已經不小,也夠光來對焦,問題不大,但ZF雖好,始終手動對焦,追焦是痛苦的
3. 沒有鏡內CPU,所以D200以下的機種沒有測光
4. 全部ZF都內付遮光罩
5. 全機械設計,簡單沒電子部分,可以用上二,三十年,在頭一年壞的機會不大,所以不妨買水貨
6. Planar and Distagon:
Planar : 為標準廣角到135mm中望遠的鏡頭設計,是6片四組鏡頭,起初只有f/4.5,今日Planar鏡頭已作到f/1.4,Planer的特點是色差修正完善,對稱設計,變形極低
Distagon : 為逆焦式的廣角鏡頭設計,主用於18mm至35mm,特色是變形輕微且中央解像力高
7. T* : 為多層式防反光鍍膜
8. D200上更換ZF鏡頭後鏡頭資訊設置的快捷方式: (from xitek)
在f4選項中,定義機身FV鍵,可選擇第二項:閃光鎖定+鏡頭資訊.以後在更換非CPU鏡頭時,只需要按住FV鍵同時分別撥動主副撥輪就可調整回應的鏡頭焦距和光圈資訊.

Carl Zeiss Distagon T* 25/2.8 ZF

Technical Specifications

Focal length 25.7 mm
Aperture range f/2.8 – f/22 (1/2 steps)
Focusing range 0.17 m – infinity
Number of elements/groups 10/8
Angular field, diag./horiz. 80.2°/70°
Coverage at close range 56 x 85 mm
Filter thread M 58 x 0,75
Dimensions ø 65 mm, length 66 mm
Weight 480 g

這是一款嚴謹冷峻的光學產品，從2007年1月24日正式上市那一刻起他就備受敬仰，除了光學鏡片之外，他由內至表處處都滲透著金屬的冰冷與剛毅。蔡司Distagon T* 25/2.8 ZF採用了10片8組的光學構成，最近對焦距離0.17m，體積65×66mm，重量為480克，使用58mm口徑濾色鏡片。在與傳統135幅面單反機型匹配時，這支定焦鏡頭的精確焦距數值為25.7mm，這是一個極為個性化的焦距區段，與28mm的所謂黃金廣角相比他的視角更寬廣，也更具有視覺衝擊力。若與24mm焦距的鏡頭相比，他又擁有更好的畸變控制能力，畫面也少了幾分張揚，多了幾縷含蓄。
著名的紀實攝影大師約瑟夫•寇德卡是蔡司25mm 廣角的使用者和傳播者，他將這種鏡頭的畫面擴張力和主力躍出感表現得淋漓盡致，其展示的許多不朽攝影佳作都出自蔡司25mm鏡頭。眼前這支專為尼康用戶提供的Distagon T* 25/2.8 ZF具有不俗的近攝能力，利用F8或F11的較小光圈，通過前景聚焦與廣闊的景深範圍的結合，他可以營造出絕佳的視覺透視效果。這支鏡頭在3-5m的對焦距離上從事人物攝影時，被攝主體的立體感和細節描寫力都相當強，主體環境也被刻畫的恰到好處。
　　事實上，任何廣角光學產品都會存在中心影像與邊緣影像的畫質差距，焦距越短視角越廣，這種畫面上影像素質的差別就愈加明顯。而Distagon T* 25/2.8 ZF卻恰如其分地把握住了中心畫質的逐次降損過程，並由此掩蓋了邊緣畫質的鬆散，甚至還借助這種與生俱來的畫質遞減現象造就了無以倫比的視覺立體感！而那些從事人文攝影的大師們，正是利用了這種人與自然環境結合過程出現的視覺立體感，既捕捉到了那醉人的心靈曙光，同時又向世人展示了最原生態的自然風貌。
鏡頭點評：並不是誰都有能力把握住25mm廣角的不羈與含蓄，在我們趨之若鶩去追捧Distagon T* 25/2.8 ZF之時一定要量力而行，因為這支經典手動鏡頭在骨子裏被融入了太多的厚重、執著、與冷酷

Carl Zeiss Distagon T* 28/2

Technical Specifications

Focal length 28.5 mm
Aperture range f/2 – f/22
Focusing range 0.24 m – infinity
Number of elements/groups 10/8
Angular field, diag./horiz. 74°/65°
Coverage at close range 18 x 12 cm
Filter thread M 58 x 0,75
Dimensions ø 65 mm, length 94 mm
Weight 530 g

一個詳細的zf 28 review in english:
http://slrlensreview.com/content/view/433/93

ZF Distagon T* 2/28实际上是从80年代初蔡司和雅西卡合作复活康泰时品牌之后推出的Contax T* 28/2(MM) Distagon改了个接口而来的，它使用了浮动对焦镜组以满足缩短最近对焦距离的需求，这支头有着油画般的色彩表现，在蔡司的三支28mm镜头（Biogon 28/2.8，Distagon 28/2.8）里面它的色彩堪称首屈一指！与此同时它的平衡性做的也相当出色，具有超高的细节成像。黎明前的天空，昏暗的街角都是展示它功力的绝好战场，从大家普遍的评价来看，这支头把蔡司的色彩表现和空气感体现的淋漓尽致，也许只有一件事情会阻挡你拥有它，那就是价格不菲。

Carl Zeiss Distagon T* 35/2 ZF

Technical Specifications

Focal length 35 mm
Aperture range f/2.0 – f/22 (1/2 steps)
Focusing range 0,3 m – infinity
Number of elements/groups 9/7
Angular field, diag./horiz. 63°/54°
Coverage at close range 129 x 196 mm
Filter thread M 58 x 0.75
Dimensions ø 65 mm, length 73 mm
Weight 530 g

　　在銀鹽膠片時代，35mm焦距被視為最經典的小廣角，這種視角與標準鏡頭相比顯得更真誠、更樸實、更原汁原味。蔡司Distagon T* 35/2 ZF採用了9片7組的成熟光學結構，他的最近對焦距離是0.3m，65×97mm的體態顯得十分均衡，其重量為530克，可以使用58mm口徑濾色鏡片。與ZF系列的其他同門“兄弟”一樣，這支鏡頭在光學、機械、和外飾風格方面都是由德國蔡司公司設計的，並嚴格執行了蔡司的生產工藝標準。因此，其完美無瑕的鏡片鍍膜和柔滑順暢的操控手感都是意料之中的事，可以說德系光學產品嚴謹厚重的風範在這支35mm定焦鏡頭上得到了良好展現。
這是一支銳度適中而潤度極佳的鏡頭，無論拍人還是攝景，他所呈現給我們的畫面都極其油潤通透，似乎擺在我們眼前的不是一個喧囂的花花世界，而是一幅永遠清新的油畫。令人贊佩的是，在F2.0-F8.0之間的各通光孔徑上該鏡頭的畫質均衡一致，除了景深漸變範圍不同之外，布光均勻度和影像風格幾乎沒有差別，這種恒定不變的高畫質簡直不可思議。不得不說的是，對於尼康F3或FM2那樣精良的手動單反機型而言，Distagon T* 35/2 ZF絕對是最忠誠可靠的夥伴。但是對於尼康數碼單反用戶來說，1.5倍率的焦距折損係數不僅破壞了35mm的誠摯視角，而且光學傳遞恒量數值和通光負荷均有所變化，這會直接造成拾焦困難。簡單地說，用慣了AF自動對焦的新手，在透過DSLR的光學取景器用Distagon T* 35/2 ZF完成手動對焦過程時會感到不適應，似乎焦點永遠都不結實，似乎主體始終都在漂移不定中。
鏡頭點評：5900元是這支手動定焦精品目前行貨的身價，就是港行管道的蔡司Distagon T* 35/2 ZF也要5300元。冷冰冰的蔡司ZF鏡頭中不含有任何電子成份，他們雖是尼康MF鏡頭的絕佳替代者，但卻不會與更現代化的尼康機身之間發生任何的電子資訊傳遞。我們在由衷讚譽其非凡光學素養和一流機械品質的同時，也要提醒一下，對於純粹的N家DSLR用戶來說這支鏡頭並不容易駕馭。

More Info (與nikon 35mm 鏡頭比較): http://forum.xitek.com/showthread.php?threadid=415093

Carl Zeiss Planar T* 50/1.4 ZF

Technical Specifications

Focal length 51.7 mm
Aperture range f/1.4 – f/16 (1/2 steps)
Focusing range 0,45 m – infinity
Number of elements/groups 7/6
Angular field, diag./horiz. 45.4°/38.4°
Coverage at close range 16 x 24 mm
Filter thread M 58 x 0.75
Dimensions ø 65 mm, length 45 mm
Weight 330 g

我們常用“標頭無弱旅”來形容標準焦距鏡頭的優異光學表現，而眼前這支蔡司Planar T* 50/1.4 ZF卻正是被廣泛公認的標頭中的“帝王”。該鏡頭發佈於2006年1月18日，採用了7片6組的雙高斯結構，最近對焦距離0.45m，重330克，體積為 66×69mm。他用料考究，外飾樸素而做工極其精湛，鍍膜細膩深邃，對焦阻尼鬆弛有度手感絕佳。

其實，尼康F卡口的這支Planar T* 50/1.4 ZF是在大名鼎鼎的康太克斯RTS版本同規格鏡頭基礎上衍生而來的，而RTS版的Planar T* 50/1.4曾經在美國《大眾攝影》雜誌1999年度的評選中獲得了“世界最佳大光圈標準鏡頭”的榮譽。更引伸一步講，F1.4光圈Planar 50mm鏡頭的原版雙高斯光學結構早在1896年就已經定型了，他是由光學天才Paul Rudolph設計完成的。
　　在影像光學領域， Planar T* 50/1.4鏡頭既是所有標準鏡頭的光學設計基礎，更是標準鏡頭大家族的開山鼻祖，其“標頭帝王”的榮譽是用極致品質和悠遠歷史締造而成的。實用過程中您會發現，在F1.4最大光圈時由於景深範圍過於狹窄，因此很容易產生焦點漂移，當光孔收縮至F2.8時焦點的穩定性將會顯著提高。在F1.4-F4.0的光圈檔位上，Planar T* 50/1.4 ZF焦內銳利無比而焦外效果柔美清新，後景深視野裏還蘊含著豐富的漸變層次，這種感覺神奇而美妙。
鏡頭點評：如此精良的光學神器，他可以給予你精美絕倫的影像，也能夠令你在癡迷陶醉中玩物喪志。正宗大陸行貨蔡司Planar T* 50/1.4 ZF的身價是3950元，若買港行貨的話僅僅需要3500元就能將其收入囊中，對於這款已有110多年輝煌歷史的帝王級別的經典標頭來說，真的是物超所值。

Carl Zeiss Makro-Planar 50/2 ZF

Technical Specifications

Focal length 51.6 mm
Aperture range f/2.0 – f/22 (1/2 steps)
Focusing range 0.24 m – infinity
Number of elements/groups 8/6
Angular field, diag./horiz. 45.5°/38.5°
Coverage at close range 48 x 72 mm
Image ratio at close range 1 : 2
Filter thread M 67 x 0.75
Dimensions ø 72 mm, length 65 mm
Weight 530 g

　　這是一支擁有F2.0光圈的近攝利器，對於以微觀影像為獵影主題的微距鏡頭而言，F2.0光圈意味著更大的光線通過量，更明亮透澈的視野，以及更高的設計難度和工業成本。Makro-Planar 50/2 ZF的片組結構為8片6組，最大放大倍率為0.5倍，其鏡桶最大直徑72mm，鏡頭總長65mm，重530克，濾色鏡口徑為67mm。
在面對這支50mm焦長的微距產品時，許多資深影友也會顯得無所適從，他們覺得作為微距產品其焦距略短，但是除了微距用途之外這支鏡頭似乎又沒有其他專長，難道Makro-Planar 50/2 ZF竟是一款昂貴的光學“雞肋”嗎？
　　事實上，歐洲那些從事珠寶、鐘錶、藝術品、以及精密工業題材攝影的職業攝影師們都是這款蔡司50mm微距的忠實擁躉者，他們把這款精良微距鏡頭稱為 “一絲不苟的探秘者”。 Makro-Planar 50/2 ZF擁有0.5倍的最大放大倍率，換句話說，他的微距能力是1：2，而不是多數影友所期待的1:1。其實您不必因此而感到失望，因為對於瑞士手錶或法蘭西珠寶來說1：2的微距描寫能力已經足夠充裕了，嚴謹而固執的德國光學設計師所信奉的設計理念是“專精而純粹”，這與大多數東方客戶所追求的“一專多能”的使用思路產生了原則性的衝撞。Makro-Planar 50/2 ZF色彩忠實，對影調層次和影像的微觀細節均有極佳的刻畫能力，只要您能提供足夠的穩定性，他就會一覽無餘地將您所需要的一切質感和細節如實地展示出來。這支手動微距鏡頭對焦行程較長，但對焦過程中那種絲絲入扣的手控感受真的太令人著迷了，那一刻您甚至會覺得，如今時尚的AF對焦方式已經偷走了您太多的樂趣。
鏡頭點評：可以肯定地認為，多數弄影者都無緣領略這支頂級微距力量的無限魅力，因為他價格昂貴而又過於矜持。作為一件攝影工具來說，7500 元（行貨）對於Makro-Planar 50/2 ZF來說可謂身價不菲，但是請您記住，這支源自卡爾•蔡司的50mm微距鏡頭本身就是一件傑出的藝术品！

Carl Zeiss Planar T* 85/1.4 ZF

Technical Specifications

Focal length 84.8 mm
Aperture range f/1,4 – f/16 (1/2 steps)
Focusing range 1 m – infinity
Number of elements/groups 6/5
Angular field, diag./horiz. 28.6°/24°
Coverage at close range 24 x 36 cm
Filter thread M 72 x 0.75
Dimensions ø 77 mm, length 62 mm
Weight 570 g

　　蔡司Planar T* 85/1.4鏡頭是公認的世界上最完美的大光圈中焦鏡頭之一，世界T臺上許多頂級名模都對這款鏡頭愛恨交織，因為在那些時裝和人像攝影師掌控下，他既能使你的皮膚如嬰兒般細嫩柔滑，也能使你芳顏上的微小瑕疵暴露無遺。發佈於2006年1月18日的蔡司Planar T* 85/1.4 ZF採用了6片5組的光學設計，他最近對焦距離為1.0m，使用72mm的大口徑濾色鏡片，體重570克，“身材”為77×86mm。這支精緻的中焦鏡頭使用了堅固扎實的金屬材料，鏡片研磨非常精細，逆光時鏡片會呈現出翠綠、胭紅、橘黃、碧藍等多種色彩，由此可見其鍍膜工藝和鏡片材質的上佳品質。
這支鏡頭的光圈組件經過了特別設計，在任何通光孔徑時都能保持准圓狀態，這對人像攝影極為有益。在使用F1.4最大光圈時，Planar T* 85/1.4 ZF因景深過淺而對焦困難，這時候焦點有些飄忽不定。光圈收縮到F2.8時，拾焦過程變得友好起來，不僅焦點穩定而且畫質細膩柔和，焦外漸變異常純淨柔美。應該說F2.8這檔光圈是最受佳麗們青睞的光圈檔位，此時既能使膚質得到完美優化，同時又具有突出的立體感和適度的真實感。當通光孔徑被收縮到 F4.0-F11檔位區間時，Planar T* 85/1.4 ZF性情突變，原本柔和的影調變得異常銳利，此刻任何微小的細節都無法逃脫這支中焦鏡頭犀利的“目光”。對色彩精准明豔的再現，是這支中焦鏡頭最出彩的特徵之一，事實上，許多卡爾•蔡司麾下的光學產品對色彩都有著獨特的理解。而Planar T* 85/1.4 ZF在色彩還原方面做的似乎更好，在他那迷人的融融暖調中，模特的皮膚既擁有健康的質感，又嫩如凝脂充滿水份。
鏡頭點評：蔡司Planar T* 85/1.4 ZF目前的市價是7950元，而同樣口碑極佳的尼康人像王AF 85mm f/1.4D IF的售價為7400元，二者身價相差不大而又同樣精彩，於是不少癡迷於人像攝影的N派影友在他們之間取捨難定。其實，對於DSLR用戶來說尼克兒AF 85mm f/1.4D IF還是更合適一些，因為他迅捷銳利，更直白也更單純。而Planar T* 85/1.4 ZF則更適宜于那些使用傳統手動單反的影像玩兒家們，他們執著而不計成本，他們不為獲取只為陶醉

Carl Zeiss Makro-Planar 100/2 ZF

Technical Specifications

Focal length 97.5mm
Aperture range f/2.0 – f/22 (1/2 steps)
Focusing range 0.44 m – infinity
Number of elements/groups 9/8
Angular field, diag./horiz. 25°/20.9°
Coverage at close range 48 x 72 mm
Image ratio at close range: 1 : 2
Filter thread M 67 x 0.75
Dimensions ø 76 mm, length 89 mm
Weight 680 g

　　在微距攝影領域流傳著“一寸長一寸強”的俗語，這其實是句經驗之談，他告訴我們用微距鏡頭洞察微觀世界時，更長的焦距會更加便捷實用如魚得水。這支蔡司Makro-Planar 100/2 ZF與同門“小弟” Makro-Planar 50/2 ZF是於2006年9月20日同時發佈的，他們都擁有F2.0的誘人光圈，但是Makro-Planar 100/2 ZF的100mm焦長使他的通用性能更加出色。他採用了9片8組的傳統光學結構，最近對焦距離0.44mm，最大放大倍率為0.5倍，體積為76× 112mm，重680克，可以配用67mm口徑的濾色鏡片。
這支微距鏡頭100mm的焦長非常適合去攝取昆蟲、花蕊等微小主體，時下流行的AF對焦方式的微距鏡頭近攝性能幾乎都達到了1：1，而Makro- Planar 100/2 ZF的微距能力卻還保持在傳統MF微距鏡頭常見的1：2狀態。事實上，有經驗的攝影師在微距攝影時從來只採用手動對焦方式，這使得AF幾乎成了尷尬的擺設。實拍顯示，這支100mm微距鏡頭具有極佳的近攝刻畫效果，其鏡中的纖小主體細節明銳，生動清新，最大光圈時也絕無邊緣失光造成的畫質下降。然而，蔡司Makro-Planar 100/2 ZF在專職於微距攝影的同時，又是一款“不務正業”的典範。一些人像攝影師嘗試利用他迷人的焦外漸變效果去拍攝美女，最後的結論是，他所營造的柔中透銳，銳中含柔的獨特效果深深打動了佳麗們的芳心。於是有人甚至提議，認為蔡司應該抹去其鏡桶標識上的“Makro”字樣，將他作為一支中焦人像鏡頭來銷售。這真的是一支強悍的多面手，在微距、人像、小品、甚至風光攝影時都有出色表現，他對影像暗部層次的精湛描寫更給人留下了深刻印象。
鏡頭點評：從任何角度去衡量，Makro-Planar 100/2 ZF都是一款完美的光學產品，他用途廣泛做工精良，光學和機械品質俱佳。當然，他11500元的身價也是足夠“完美”的。雖然按照卡爾•蔡司的設計初衷，這只是一支純粹的中焦微距產品，但事實上蔡司光學的癡迷者們已經通過大膽的嘗試，將他變成了一款“不務正業”的微距之王。
結語：由卡爾•蔡司和確善能（又譯“柯西納”）攜手打造的ZF系列鏡頭是光學領域的極致一族，我們感謝蔡司使純正的德系光學血脈傳承不息，也感謝確善能使這些光學寵兒的身價顯得更加親和。ZF系列的這6支鏡頭無疑是尼康F卡口擁躉者眼中的光學天驕，他們沒有被慵懶的AF對焦方式與數位影像時代的虛華和喧囂所污染，依舊執著地按照傳統的光學設計理念獨步前行。ZF一族是當代光學天地間值得稱道的典範，他們嚴謹精良，大氣內斂，堪稱完美影像的化身。

Two New Super Fast ZEISS ZF Macro Lenses with Nikon F Mount

At f/2, the new ZEISS Makro-Planar T* 2/50 ZF and Makro-Planar T* 2/100 ZF are the fastest macro lenses for 35mm full-frame photography today - whether for film or digital capture. The two new lenses focus manually from infinity to ½-life size, capturing an object field of approximately 50x70mm at the close-focus limit. All of the ZEISS ZF lenses feature precision metal mechanics, providing the photographer with a durable, reliable tool of lasting value.

A ‘floating element’ optical system enables the Makro-Planar T* 2/50 ZF to deliver very high image quality over the entire focusing range. The Makro-Planar T* 2/100 ZF goes several steps further by employing an optical design originally developed for the ARRI/ZEISS Master Prime T* 1.2/100 – an ultra-high performance lens for big budget feature films. Thus, the Makro-Planar T* 2/100 ZF lens offers an optical performance never before available for still photography, especially at wide-open apertures and in macro applications. This lens allows photographers to use selective focus on important details with unprecedented clarity, effectively isolating the subject from distracting surroundings. This is a common technique used by Directors of Photography in the Cine industry to direct the viewer’s attention and create what admirers call the ‘film look’.

In addition to professional and general-purpose photography, the two new Makro-Planar ZF lenses were also designed for use in a broad variety of industrial, scientific, space applications, machine vision, robotics, instrumentation, documentation and surveillance applications.

Nikon Capture NX

Nikon Capture NX是一款全面的新一代数码图片编辑和处理软件，它的前身是Nikon Capture 4，Capture NX为其最新升级版本。尼康Capture NX 利用U point 科技，为您带来强大的多种工具，助您发掘在摄影方面的潜力及无穷想象。

主要功能
• U Point™技术是一个革命性的新技术，通过使用控制点，它能够在编辑过程中将用户的预想可视化。使用NEF文件能达到最佳性能，控制点允许摄影者选择并分离整张图像或图像中选定的区域，以进行图像增强，同时操作没有其他图像编辑软件那么复杂。图像的增强效果可以方便地立即取消或添加，不会影响图像的原始质量，同时U Point控制也与NEF文件的所有指令集完美兼容。
• 通过色彩控制点，摄影者可以使用多达9个不同的游标调整各个选定的区域。在默认设置中，可以使用4个游标来分别调整尺寸、亮度、对比度和色调。还可以通过各个控制点的设置栏进行进一步的设置。
• 其他的控制点包括：可方便地用于设置动态范围的黑、白点；纠正图像（甚至包括不含灰色调的图像）中的色彩表现的中性控制点；以及红眼消除控制点。

细致的编辑菜单
• 编辑菜单是Capture NX的特性和增强功能的主控制菜单。任何对图像的修改在编辑菜单中都存有记录。每一条记录都能在此菜单中被删除、修改或复制。对于控制点的改变的保存和删除可以在保存文件之前的原始操作中完成。对于NEF文件，控制点的改变能够在保存前/后进行；而对于JPEG和TIFF文件，则只能在文件保存前进行。如果需要对已保存的JPEF和TIFF文件进行修改，可以通过添加控制点来实现。
• 编辑菜单对每一步操作自动进行记录。在原始编辑过程中，可以在任何时间打开或关闭一步或多步操作，这样就可以监控和比较图像的最终效果。对于NEF文件，甚至在文件被保存并重新打开后也可以打开或关闭这些操作步骤。

强大的图像浏览器
• Capture NX浏览器的先进功能包括加标签、分类和编辑。
• Capture NX 的大部分功能都可以通过其浏览器实现，直接通过每幅图像略图进行快速调整，甚至同时调整多幅图像。在略图中选定的图像可以通过浏览器打开，并进入编辑器中。

改进的批处理功能
• 批处理功能自动地对一系列图像进行增强操作，而且对于在多张图像上立即进行一系列预先定义的调整特别有用。
• Capture NX提供了多种多样的批处理方式。

选择工具
• 出于Nikon Capture 4软件用户不断的要求，Capture NX包含了数个有用的新功能：选择各种增强工具进行正负调整，这些工具包括刷子、套索和选取框（4种）、梯度以及填充/移去。

色彩管理控制
• 色彩管理功能进行了提升，可以控制图像中的色彩与打印机能产生的色彩的匹配性。此功能的选项包括图像感知、饱和度、相对色度和绝对色度。

提高Nikon Capture 4的方便性
• Capture NX继承了各种先进的功能，包括色差控制、D-Lighting、图像除尘、晕影控制和鱼眼-直线图像转换。
• 改进的降噪功能带有最新、最先进的尼康算法。增加了新的变形控制功能，可以减小枕形失真和桶形失真。

新特性：
1.全新的Powerful U Point技术能够支持色彩调节要点，这样可以帮助用户提高直接选择图片的准确性。
2.提供25种全新工具和改进，其中黑色、白色、中色调节工具可以帮助用户删除color casts并且设置图像的动态范围，以及失真修正。
3.新增加一款功能强大的新版浏览器工具。

新的Capture NX 软件不仅可以尽展NEF（尼康电子格式）文件的强大功能，还首次使处理及编辑JPEG 和 TIFF 文件的过程如此简单、优雅，任何摄影师都可轻松上手。新的界面带来了对多种工具的直观控制，不再有繁复的操作。请与Capture NX一起，探索摄影新天地，展现您的无穷想象吧。

尼康Capture NX软件Ver 1.3.0版

据悉，尼康Capture NX软件Ver 1.3.0版本相对之前的的版本改进颇多：1.增加了对相片进行基本调整的项目，2.在RAW格式调整中增加了自动D-Lighting功能， 3.针对鱼眼镜头Fisheye-Nikkor 16mm f/2.8D可以直接调整，4.去除了设置面板中的RAW影像编辑功能，使得软件进一步得到了简化，5、虚光控制功能可以直接在运用在JPEG和TIFF影像上（仅限为尼康数码相机所拍摄）

　　Nikon数码影像处理软件Capture NX，是由先前推出的 Nikon Capture 4软键改进而成的，它能为数码摄影玩家提供更强大的工具，通过简单易用的操作编辑NEF、JPEG 和 TIFF 档，以达到优化图像的作用。就其处理效果而言，绝对不输给PS系列软件，很多资深的尼康玩家都在使用该软件处理图片。

这对N家色友们无疑是一个好消息，但是三〇天的试用并不能满足广大群众热情高涨的呼声。

1）下载1.3完整版；解压缩，点击CaptureNXSetup.exe文件进行安装
简体NX1.3

http://nikon-asia.com/downloadstuff/Software/CaptureNX_1.3_Updater/NX1.3_SC.EXE

简体NX1.3说明手冊
http://chsv-soft.nikon-image.com/int/manual/cn/CAPNX13_T_(15)01.pdf

3）一路按默认选择安装下来，安装完毕，到“添加刪除程式”中卸载“Message
Center”

4）找個破解的1.2版Facade.dll文覆蓋1.3版的文件

5）用防火墙阻止NX访问网络，或者改 hosts 文件，试试这个（复制到开始菜单－运行里执行）：

cmd /c echo 127.0.0.1 sams.nikonimaging.com>>%windir%\system32\drivers\etc\hosts

6）运行NX程序，出现注册提示框，公司和个人信息任填，输入1.2的KEY，完成。
KEY：21130 06073 32026 01246 55474

1.2时代的Nikon Capture NX破解起来就已经相当费事了。由于Facade.dll文件在网上失传，1.3的破解难度进一步增大。

现提供破解方法

在NX1.3安装文件夹中找到Facade.dll文件，然后用任何可以打开dll文件的16位进制文本编辑器（如UltraEdit）
搜索到“74 45 83 E8 01 74 34 83”，把“74”替换“EB”,同样方法找到“C4 14 84 C7 FF 8D ……”，把后面“49 00”替换“90 90”，然后就保存，就OK了！

破解补丁下载：：

http://www.zshare.net/download/6426452712952e/

Tamron SP AF70-200mm F/2.8 Di LD (IF) Macro

Tamron announced yet another lens at this year's PMA show, the SP AF70-200mm F/2.8 Di LD (IF) MACRO. This fast telezoom gets in close thanks to its 0.95m minimum focus distance, realizing a magnification ratio of 1:3.1 at 200mm. Plenty of coatings keep stray light to a minimum whilst a removable tripod mount and clutched focus ring (Canon and Nikon only) help speed up operations. Canon users will see the lens first with release scheduled for March. Nikon, Sony and Pentax fittings will follow.

The new SP AF70-200mm Di LD (IF) MACRO (Model AA001) is an F/2.8 fast tele-zoom designed for DSLRs with 35mm full-size image sensors, inheriting product concept of the existing SP AF28-75mm F/2.8 XR Di (Model A09) that is highly acclaimed as a compact and fast standard zoom lens enabling photographers to enjoy high cost　performance characteristics.

While dimensional increases are confined to the absolute minimum, the new SP AF70-200mm F/2.8 Di LD (IF) MACRO zoom lens offers the MFD (minimum focusing distance) of 0.95m over the entire zoom range for the maximum macro magnification ratio of 1:3.1 at f=200mm focal length, for stress-free photography, combined with the advantage of an internal focusing (IF) system.

It enables the user to cover a focal length range of 70mm medium telephoto to 200mm telephoto when mounted on a 35mm full-size DSLR camera and a focal length range from 109mm to 310mm equivalent* ultra telephoto (35mm equivalent, in an angle of view of 7°59’) when mounted on a DSLR camera equipped with an APS-C sized image sensor.

Main features

0.95m MFD over the Entire Zoom Range for 1:3.1 Maximum Magnification Ratio
This zoom lens, designed for use with full-size format SLR cameras, boasts a fast maximum aperture of F/2.8, yet it allows close-focusing down to 0.95m over the entire zoom range. The maximum magnification ratio is 1:3.1 at the 200mm tele-end. The filter diameter is confined to φ77mm as a result of the use of an advanced optical design pursuing optimum optical power distribution.
Soft Out-of-Focus Effect and Sharp Depiction
In order to realize soft out-of-focus effect and sharp depiction performance at the same time, the zoom lens uses three LD (low dispersion) elements. As a result, the optical system effectively compensates for lateral and on-axis chromatic aberrations that are major image-degrading factors in telephoto photography, in order to provide edge-to-edge sharpness and high-contrast image quality with flat-field characteristics over the entire zoom range in various photographic situations.
Lightweight, yet Fast F/2.8 Maximum Aperture
The lens features a fast maximum aperture of F/2.8, yet it weighs a mere 1,112.6 grams (39.2oz.), since it uses barrel parts made of engineering plastic materials having excellent dimensional stability and sufficient strength for professional use and even industrial applications.
Internal Surface Coatings Minimize Ghosting and Flare
Through the use of "Internal Surface Coatings (i.e., multiple-layer coatings on cemented surfaces of plural elements) and multiple-layer coatings to prevent reflections from lens surfaces, ghosting and flare due to reflections that occur when light enters through the front element as well as reflections caused by the imager itself in the mirror box are reduced to the absolute minimum.
One-Touch AF/MF Switchover Mechanisms (for Canon and Nikon only)
The models for Nikon and Canon cameras are equipped with AF/MF switchover mechanisms to allow one-touch switchover from AF mode to MF mode or vice versa electronically and mechanically by simply sliding the button. (Sony and Pentax systems require AF/MF switchover operation on both the camera and lens.)
Since the lens uses an IF (internal focusing) system, the focusing ring does not rotate during focusing, which ensures good holding balance at all times. In the MF mode, focusing is performed as easily and comfortably as with an MF lens. Since the overall length of the lens does not change due to zooming or focusing, it offers excellent operability and holding balance.
Detachable Tripod Grip Ring
The lens is supplied with a lightweight and rigid aluminum removable tripod socket.
Flower-shaped Lens Hood
A flower-shaped lens hood is included as a standard accessory. The special hood provides optimum shading of superfluous light rays that enter from the rectangular frame outside the image field.

Apple Aperture 2.1

Apple® today released Aperture™ 2.1, which introduces an open plug-in architecture that makes it easy for photographers to use specialized third party imaging software right from within Aperture. Available today as a free software update, Aperture 2.1 includes the Apple-developed plug-in, Dodge & Burn, which adds brush-based tools for dodge (lighten), burn (darken), contrast, saturation, sharpen and blur. Over the coming months, third party software developers will deliver image editing plug-ins for localized editing, filters and effects, noise analysis and reduction, fisheye lens correction and more. “The image quality in Aperture 2 has won over the most demanding photographers,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “Now, thanks to our open plug-in architecture, users can access an entire industry’s worth of imaging expertise without ever leaving Aperture.” “To date, maybe two percent of my photographs needed to be touched up outside Aperture,” said John Stanmeyer, founding member of the VII Photo Agency and contributing photographer for Time and National Geographic magazines. “Now that I can dodge and burn right within Aperture’s new plug-in, I can’t imagine when I’ll have to open any other application to tone my images.” By clicking on one or more images within Aperture, users can choose from a menu of installed plug-ins and apply specialized imaging operations to either TIFF or RAW images. Apple is working closely with key developers to bring the most requested plug-ins to Aperture such as: • Nik Software’s Viveza plug-in, powered by U Point technology, which provides a powerful, precise and easy way for photographers to selectively control and adjust color and light in their digital images;

• PictureCode’s Noise Ninja plug-in that delivers advanced high ISO noise analysis and reduction;

• Digital Film Tools’ Power Stroke plug-in that features a simple, stroke-based interface to quickly mask and intuitively perform targeted adjustments;

• The Tiffen Company's Dfx plug-in that provides an expansive suite of creative filters and effects;

• dvGarage’s dpMatte plug-in, which is a high performance chroma key tool for creating seamless composites, and the HDRtoner plug-in that enables the selection of multiple photos to create a single high dynamic range (HDR) image; and

• Image Trends’ plug-ins that include Fisheye-Hemi to quickly and effortlessly correct fisheye lens distortion, ShineOff which automatically removes shine from faces and PearlyWhites that automatically whitens and brightens teeth.

Adobe Photoshop Express Beta

Adobe Systems Incorporated (Nasdaq:ADBE) today announced Adobe® Photoshop® Express public beta, a free Rich Internet Application (RIA) available to anyone who wants to store, sort and show off digital photos with eye-catching effects. During the public beta period, Adobe will solicit Photoshop Express user feedback on product features and functionality, which will continue to evolve over time. As the newest addition to the Photoshop family line, Photoshop Express has taken much of Adobe’s best image editing technology and made it simple and accessible to a new online audience. Photoshop Express allows users to store up to 2 gigabytes of images online for free, make edits to their photos, and share them online in creative ways, including downloading and uploading photos from popular social networking sites like Facebook.

“Photoshop is trusted technology that has changed the visual landscape of our world. Now, Photoshop Express allows anyone who snaps a digital photo to easily achieve the high-impact results for which Adobe is known,” said Doug Mack, vice president of Consumer and Hosted Solutions at Adobe. “Photoshop Express is a convenient, single destination where you can store, edit and share photos whether you’re at home, school or on the road.”

Simple, Fun and Accessible

With Photoshop Express, digital photos can be uploaded and sorted anytime, edited non-destructively to always preserve the original image, and shared from anywhere, on any Web browser. In a few easy clicks, Photoshop Express empowers anyone to make standard edits, such as removing blemishes and red-eye, converting to black and white, cropping and resizing, and much more.

No experience is required to add special effects that will impress friends and family. In keeping with its one-click approach, Photoshop Express offers tricks like Pop Color which selects an object in an image, mutes the background color of the photo and allows the user to swap the object’s color so it jumps off the page. Sketch effects help photos look like drawings and the Distort feature allows you to distort facial features or objects within the images for a comical or artistic effect. Even users with limited photo editing knowledge can simply select what looks best from a line-up of sample photos with visual hints showing different variations of the added effect.

Photoshop Express offers a variety of creative sharing options, including uploading and showing off photos and slideshows in your own online “Gallery” hosted by Adobe, or conveniently embedding or linking photos to social networking sites and personal blogs without having to leave the application. Slideshows never looked better with animation that makes photos float and fly across the screen, allowing for viewer interactivity and unique presentation styles.

Adobe Photoshop Family

Adobe Photoshop CS3 and Photoshop CS3 Extended are at the heart of the Photoshop family, joined by solutions for users at every level who want to bring out the best in their digital images. Photoshop Lightroom™ addresses the workflow needs of professional and serious amateur photographers. Photoshop Elements provides exciting tools and sharing options for photo hobbyists.

Photoshop Express is the latest step Adobe is taking to leverage the advanced technology that underpins its award-winning creative products and deliver it to new online communities. In early 2007, Adobe also announced the availability of Adobe® Premiere® Express, an online video editing and mash-up tool on partner sites such as MTV and Photobucket. Adobe Premiere Express leverages the functionality found in Premiere Elements, a fully-featured desktop video editing program.

Free and Available Now

Adobe Photoshop Express beta is available now for free via any Web browser at http://www.photoshop.com/express. Photoshop Express was created with Flex, Adobe’s free, open source framework for building RIAs. Flex applications provide a consistent, rich user experience across operating systems and all major browsers, including Firefox, Internet Explorer, Safari and others. An Internet connection and an up-to-date Flash® Player 9 are all that are required to experience Adobe Photoshop Express. In its early phases, Photoshop Express is available to US residents-only in English. Users may experience slow performance if accessed outside of the US. Future plans include availability in other languages and countries.

The 123 of digital imaging 5.0

Site contributor Vincent Bockaert has today announced a totally new version of his excellent 'The 123 of digital imaging Interactive Learning Suite'. A favorite piece of reference material I never hesitate to recommend this excellent interactive electronic book which will provide you with both pathways for learning as well as reference. No matter what your knowledge level there will be plenty to learn from the 123 of digital imaging. On top of a major expansion in content (now 4,200 pages covering 153 topics) the new version is now fully Mac OS X compatible and has a completely redesigned user interface.

Click here to visit 123di.com to download the free demo

A publication like no other, the usage of animations and user-interactivity makes 123di an unrivalled and unmatched digital photography learning tool.

123di covers all aspects of the digital imaging workflow:

Understanding digital imaging and digital camera selection
Enhance your images in the "pixelroom"
Manage, view, share, and print your images

Highly Integrated and Interactive Content

123di contains over 4,200 interactive screen-size pages filled with thousands of full color graphics and animations organized into 153 topics. The practical content is highly cross-referenced with digital photography background theory.

Three Selectable User Levels

1. Starter sections are like "executive summaries". These brief introductions with simplified and synthesized content are ideal if the reader has little time and wants to keep it simple.

2. Essential sections get the reader up to speed quickly and are a must read for beginners. But even for advanced readers they are a nice refresher before diving into the advanced sections. Image editing tutorials in the essential sections are based on Adobe Photoshop Elements 6, 5, 4, 3 & 2.

3. Advanced sections build on the essential sections and are more in-depth and detailed, and technical at times. Image editing tutorials in the advanced sections are based on Adobe Photoshop Lightroom, Photoshop CS3, CS2, CS, and 7, including Photoshop CS3 Extended features that are relevant for digital photography.

10 Key Software Packages Covered

Adobe Photoshop Elements 2, 3, 4, 5 & 6 Editor, Photoshop Elements 3, 4, 5 & 6 Organizer, Adobe Photoshop 7, CS, CS2, CS3 & CS3 Extended, and Photoshop Lightroom are featured with animated tutorials and unique interactive graphical user interfaces. Clicking on any menu item, tool, or palette in the interactive interfaces brings the user to the corresponding explanation page which also links to practical tutorials and theoretical background information within 123di. Many other software packages such as ACDSee 9 & 10, PTGui, Photorescue, etc. are also briefly covered.

A separate version for Nikon users covers, Nikon Scan 3 & 4, Nikon Capture 4.4 & Capture NX 1.3, and Camera Control Pro 2, in addition to the content of the regular version.

A Canon version, covering Canon DPP, Canon printers, and Canon technology will be available in the second quarter of 2008.

Users of the regular version can upgrade to the Nikon or Canon version at any time by topping up the price difference (no additional upgrade fee).

Unique Navigation

Besides reading 123di like a printed book, 123di offers many alternative ways to quickly find the information such as the above mentioned interactive graphical user interfaces, digital imaging workflow diagrams, index, before and after images, frequently asked digital imaging questions, interactive slide show, custom bookmarks, etc.

Complete Theory on Digital Photography

123di has extensive coverage on digital photography concepts such as resolution, compression, color bit depth, dynamic range, noise, focal length multiplier, sensor types, etc. The inner workings of cameras, scanners, accessories, monitors, and printers are explained in detail. Detailed full color graphics, animations, interactive simulations and interactive calculators allow for an accelerated way of learning that gets the reader involved.

Buying Guides for Cameras, Scanners, Monitors, and Printers

Detailed buying guides for cameras, scanners, monitors, printers, and accessories help in the reader's buying decision process.

Practical Image Editing Techniques

Useful image editing techniques cover various approaches to create spectacular images and overcome limitations of the scene, the photographer, or the camera.

Color Management

Color management is featured throughout 123di to ensure consistent and accurate color during the entire workflow. The coverage is substantially improved in Version 5.0, covering both Macintosh and Windows platforms.

Working in RAW

123di has a comprehensive practical and theoretical coverage of working in RAW. Practical examples are based on Adobe Camera Raw for all Adobe Photoshop versions. The Nikon version also covers Capture NX 1.3 and Nikon Capture 4.4, while the upcoming Canon version will cover Canon DPP.

New Content in Version 5.0

Content updated for Windows and Macintosh platforms.
Extensive coverage of Adobe Photoshop Elements 6 (Editor and Organizer), Photoshop Lightroom, Photoshop CS3 & CS3 Extended, including Camera Raw 4, from a digital photographer's perspective. The content about Photoshop Elements 2, 3, 4 & 5 and Photoshop 7, CS & CS2 is still included.
Chapter 12 - "Working in RAW mode" is updated for Adobe Camera Raw 4.x, Capture NX 1.3 (for the Nikon version), and in-depth RAW background information to get the most out of RAW images. The content of Nikon Capture 4.4, Camera Raw 1.x, 2.x, and 3.x is still included.
Extensive revision of the color management and printing content, including coverage of CBL Lens, and Datacolor Spyder3Elite and Spyder3Print.
Thousands of modifications and updates were made to the content and hundreds of pages were added to keep 123di fully updated with the latest technology changes.

New Features in Version 5.0

Brand new Content Visualization Engine for Windows and Macintosh (Universal Binary).
More than 500 fully controllable animations with “back”, “forward”, “play”, and “pause” buttons.
Print button to print individual pages as a reference.
Compared to the Standard Edition, the new Extended Edition comes with additional navigation features:
- New Search Engine providing instant results
- “Add Bookmarks” and “View Bookmarks” buttons allowing the reader to add and organize an unlimited number of bookmarks
- “Add Notes” button to add notes to any page.
- Transfer Bookmarks & Notes between computers
- Reduce or enlarge the default font size to enhance readability.
- Opens on the Last Page you viewed in your previous session.
- Opens with the window size and position of your previous 123di session.
Users can upgrade from the Standard to the Extended Edition at any time by topping up the price difference (no additional upgrade fee).

Nikon D60 Review

The D60 is the third incarnation of Nikon's compact, user-friendly entry-level SLR line that started back in 2006 with the D40 (which replaced the first Nikon 'starter' model, the D50). The original D40 was a hugely important camera for Nikon and can be given a lot of the credit for the resurgence in Nikon's fortunes at the volume end of the SLR market (which had been totally dominated by Canon since the launch of the EOS 300D / Digital Rebel). The D40's success (which continued long after the D40X made its swift appearance only 6 months later) isn't hard to explain; it was keenly priced, nicely designed and built and capable of excellent results. It was also a camera that proved cameras do not sell on megapixels alone (even at launch its 6MP resolution was far from 'class leading').

The D40X, which was positioned as a premium alternative to the D40 rather than its replacement, didn't mess around with the formula much at all; a new sensor with more (ten) megapixels and a lower base ISO, plus a slightly higher continuous shooting rate. The D60 is a direct replacement for the D40X (the D40 will stay around for a while as Nikon's budget option), and once again it's not a major upgrade; the sensor remains the same (though now has a dust reduction system) and the external design is almost identical. There's a few new features, including the same Expeed processing 'concept' seen in the D3 / D300, Active D-Lighting, an eye sensor (to control the screen display), and some tweaks to the interface, but perhaps the most significant change isn't to the camera at all; the move to an optically stabilized version of the kit lens.

Auto Focus only for AF-S or AF-I lenses

As with the D40 and D40X, the new D60 doesn't have an built-in focus drive motor which means it can auto focus only with lenses which have their own drive motor (AF-S and AF-I lenses). The lack of a drive motor can be seen by the missing mechanical focus drive pin on the lens mount (see images below). One of the D60's new features is an electronic rangefinder to help manual focus on non AF-S / AF-I lenses.

Nikon D60 key features

10 megapixel DX format CCD (1.5x FOV crop)
Nikon EXPEED processing 'concept' (as per D300, D3)
3D Color Matrix Metering II, 420 pixel sensor
Multi-CAM530 three area AF sensor
New Image sensor cleaning system
Eye sensor (turns off LCD display)
ISO sensitivity range 100 - 1600 plus HI 1 (3200 equiv.)
3.0 fps continuous shooting*, unlimited in JPEG
No status LCD, LCD monitor based status / settings screens (now rotates)
Help suggestions on LCD monitor (eg. scene too dark, try using flash)
Large 2.5" 230,000 pixel LCD monitor
Short shutter lag and viewfinder blackout
Support for SDHC (SD cards over 2 GB in capacity)
In-camera retouching
- Quick Retouch
- D-Lighting (shadow / highlight enhancement)
- Red-eye reduction
- Trimming
- Monochrome
- Filter effects
- Small picture
- Image overlay
- Raw processing
- Stop-motion movie
USB 2.0 with PTP and Mass Storage device support
Very compact, light body
Improved menu user interface
EN-EL9 Lithium-Ion battery (7.2V, 1000 mAh)
New stabilized AF-S DX 18-55 mm kit lens

Differences compared to the D40X

EXPEED processing
Image sensor cleaning system with Airflow control system
Automatically rotating user interface (for using camera vertically orientated)
Stop motion movie function
New stabilized kit lens (AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR)
Eye sensor
Electronic 'rangefinder' for manual focus
Active D-Lighting with dedicated button
In-camera Raw processing
New JPEG retouch effects (Cross Star and Color Intensifier)

Sigma 50mm f/1.4

Sigma bolsters its top-end EX range with the announcement of a HSM focusing-motor-equipped 50mm f/1.4 lens. Offering a moderate telephoto field of view on APS-C cameras, Sigma's DG designation means it will also work as a standard lens on full-frame digital cameras. We believe this is the first time a 50mm f/1.4 lens has been offered with a ring-type focus motor. Pricing and availability information to follow as soon as we have it.

The Sigma Corporation is pleased to announce the new large aperture 50mm F1.4 EX DG HSM standard lens. For Sigma, Canon, Nikon, Pentax* and Sony*

Standard lens with large maximum aperture of F1.4.
It creates sharp images with high contrast and ensures superior peripheral brightness.
Incorporates molded glass aspherical lens, perfectly correcting coma aberration and creating superior image quality.
Super multi-layer coating reduces flare and ghosting.
Hyper Sonic Motor (HSM) ensuring silent, high-speed AF

This is a large aperture prime lens with a standard focal length of 50mm, ideal for digital cameras. This lens is perfectly suited for a wide range of subjects enabling outstanding, sharply defined images against a nicely blurred background. The fast, F1.4 aperture makes this lens desirable for use with Digital SLR cameras. This lens effectively becomes an 80mm medium telephoto lens on digital cameras with APS-C size image sensors. The optimum optical design and molded glass aspherical lens elements provide excellent correction for all types of aberrations. This lens has superior peripheral brightness and provides sharp, high contrast images even at the maximum aperture. Superior optical performance is also ensured throughout the focusing range. The super multi-layer lens coating reduces flare and ghosting. This lens has a minimum focusing distance of 45cm (17.7”) and has maximum magnification of 1:7.4. It creates a very attractive blur, even when a small aperture is used.

This lens incorporates HSM (Hyper Sonic Motor), which ensures a quiet and high-speed AF as
well as full-time manual focus override.

摄影师的七级分类［转］

一. 藝術家:最高等級(相當於基督神話中的\"天堂\"
這是最高等級。
一個藝術家用一種叫照片的確實形式把他的想像固定下來。
在這照片裏他捕獲事物的靈魂，無論是真實的或是想像的，
而觀眾則對此作出反應。

一個藝術家會善加利用他的工具。當藝術家在創作時，
他的靈魂亦迎向他正擷取的東西，而這超越了常理的存在。
當他不創作時，他會學習使用他的工具；但只要當他開始創作，
照相機會成為他心智的延伸。足稱攝影大師的他，
在技術方面不作有意識的思考。

這跟音樂蠻相似的；一個音樂家也許會練習音階，
但當他演奏時，他甚至不會想到他的手指他忘情於那一刻的激情中。

正如一個專業衝浪者擁有一打的浪板，或者一個吉它手有二十三條軸線，一個藝術家可能會有很多相機，每一台有不同的用途。同樣地，別的藝術家也許只有一台相機，或者根本沒有，但這無關緊要。

藝術家們有時穿著好笑，而且常常熬夜。
沒有人見過他們的作品，因為他們在推銷自我的能力上十分拙劣。
那些善於推銷的人，只會把自己降級為靈魂出賣者。
不幸的是，這意味著除非你認識一個真正的藝術家，
否則你不可能見到他們的作品。
好的藝術家們通常覺得把作品展示給別人看是一件十分尷尬的事情，

除非你和他們十分類似，因為作品是他們的靈魂。

藝術家們用各種相機，包括針孔相機、拍立得、或者8x10相機。
他們使用任何器材，只要它可以創造出他們所想要的。

二. 靈魂出賣者:第六級

一個靈魂出賣者是一個以靈魂換取金錢或毒品的藝術家。
一個藝術家若將自己降到這個等級，他的眼界可能已經被遺棄了。

為什麼？因為他靠出賣自己的靈魂買所需的食物，
他壓低自己的聲音以求不違悖這一體系，
這意味著他不可能嘗試新的風格。

如果一個靈魂出賣者多年來以他的工作換取錢財，
那麼只要他還需要麵包，他就不可能嘗試新的風格。
一個有經紀人的藝術家(畫廊或其他代理；如同拉皮條的)
如果改變他的風格，他就可能失去他的經紀人。

因此，商業藝術工作者從來不會有所長進或改變。
一個有商機的風格就是拉皮條的想要看到的風格。
看看Barnbaum的關於藝術性的書，他說明了對於一個成功的靈魂出賣者，
要改變已被眾人接受的風格是十分困難的。

三. 業餘愛好者:第五級

這種人從攝影獲得的收入低於總收入的一半，
但這和他們攝影的品質沒有關係。

這纇人喜愛拍照，一個擁有純潔靈魂的業餘愛好者可能超越其他等級，直接成為一個藝術家。

一個在週末拍攝婚禮以補充日常工作收入的人依舊是一個業餘愛好者；他們只是為他們的照片收費。

業餘愛好者若認為好的相機會提高他的作品水平，
他就有可能會被降級成為最低等級的器材測量員。
太多的業餘愛好者被相機生產商誤導，
以至於相信他們需要好的相機來拍出好的圖片，這種想法毒殺藝術創作。

一個業餘愛好者若能在創造不朽圖片的努力中釋放自己，
他就步入了一條領悟的道路。

作為一個業餘愛好者是一件好事，他們比較容易成為藝術家。
業餘愛好者們幾乎總是用佳能單眼相機。
（奇怪，作者對CANNON很有意見耶）

四．拍快照的：第四級

我的媽媽和大部分人屬於這一級。相對於照片或相機，他們更重視記憶。
快照者常常是圖形藝術家或者視覺工作者，他們常常拍出非同尋常的照片，而這些照片常常給人留下深刻的印象。這些快照者是藝術家，但他們並不認為如此。他們通常穿得比自認為是藝術家的人體面。
他們相信：拍出照片的是攝影師，不是相機。

快照者用傻瓜機或即可拍相機，拍出別人用萊卡、尼康、佳能和康泰克斯所拍出的效果。

五．專業攝影師：第三級
專業攝影師是一個以攝影賺取所有生活費的人。

專業攝影師不為生活而創造藝術，他們為商業而製造圖片。
他們通常比較熟悉器材，能拍出不錯的圖片，
但是他們並不一定擁有捕獲想像的能力。
當然，專業攝影師可以在一定時間內拍攝出不錯的照片。

除非當相機需要修理，專業攝影師很少會去擔心它們。
他們幾乎用所有的時間找活幹，或者抱怨城裏的其他攝影師又在降價了。

專業攝影師每個月在膠捲和沖印上花的錢比他們每年在器材上花的錢還多。
沒有專業自然攝影師，他們要麼白天有工作、或者由妻子供養。

專業攝影師用尼康單眼相機，瑪米亞中幅，和Calumet 4x5。
他們買不起大部分嚴肅的業餘愛好者所使用的器材。

專業攝影師沒有網站，而且不出版技術分析的刊物。
他們通常是業餘愛好者。

六．富有的業餘愛好者：第二級

這些業餘愛好者們太有錢了，他們買很多器材，
而這些東西禁錮了他們表達的自由。
這些人通常是男性，其中很多是年老的或退休的。

這些富有的業餘愛好者用Leica、Contax、Alpas、Hasselblad，和Linhof4x5相機。這些都是很好的相機，但是他們拍出來的效果和
用Zenit、Pentax、Bronica和Tachihara拍出來的差不多。
稍微窮一點的用Nikon，甚至Canon。（？？）

最近這些白癡們開始用專為報社設計的單眼相機，
例如Canon EOS-1D和 Nikon D1x，
而這些相機的品質比拍快照的所用的相機還差。
最愚蠢的那些人則等待要價$7000的Contax N數位相機，
這台相機比Nikon和Canon的是數位單眼相機還不如。
而這些人還是只能拍出比用便宜的膠片單眼相機還差的照片。
糟糕的富有業餘愛好者們則把模糊的黑白窮人照當成是藝術。

一些富有業餘愛好者很容易墮落到最低的精神等級，
因為他們太擔心他們的器材。而其他的人則直接進入到創造偉大藝術的殿堂，
他們並不擔心他們的器材，因為他們相信他所擁有的器材是最好的。
奇怪的是，富有的業餘愛好者很少拍出一般的照片；他們不是成功便是失敗。

七. 器材測量意淫者: 最低級

這些男性(他們的確都是男的)對於藝術和攝影沒有興趣，因為他們沒有靈魂。
靈魂的缺乏使得他們無法表達想像力和感覺，
這也就是為什麼即使他們拍了一些照片，也全都是廢物。

絕大多數人擁有技術方面的愛好，比如工程、電腦和科學。
這些人過於在乎用數字評分，他們完全忘記相機或測試表的良窳與照片的靈魂並沒有任何關聯。
因為他們太在乎測量器材的性能，所以我們給予他們"測量意淫者"的綽號。
不幸的是，他們之中的許多人到KenRockwell.com來尋找關於器材性能的資訊。

他們也玩音響，電腦或車子。正如他們看待他們的相機，
他們把這些當玩具，而很少把它們用到原本該用的途徑上。
年輕一點的玩遊戲、上網或聊天。年紀大一點的則加入"相機/器材"俱樂部。
(你應當加入"攝影"俱樂部，而不是相機俱樂部、或任何試圖給藝術評分的俱樂部因為藝術完全是主觀的，不能用數字評分。)
同樣地，這些人從來不用他們的器材創造出引人注目的東西。但是他們肯定會為擁有、獲得或與你談論這些器材而感到興奮。

這些人忽視的一種工具是唯一的有用的工具:光線。

為了他們自己的緣故，他們只對器材感興趣。
如果你讓著他們，他們會講得你耳朵生繭。
但是一旦你想看看他們的作品，他們的聲勢一下子就消失了，
或者他們會以為你想看看他們的器材。

一個有不錯的作品集的人不是器材意淫者。
擁有器材比好作品多的人、有成堆的技術文章而幾乎沒有有趣照片網站的人大概就是器材意淫者了。

在任何情況下都不要和這些人交往、與他們聊天、或者看他們的網站。
對於單純的人來說他們像是知識庫，但是他們病態而缺乏活力的靈魂特別喜歡把你扯入到他們自己的地獄去，讓你的靈魂一輩子困於擔心鏡頭銳利度的泥沼。
一旦你開始擔心這個，除了磚牆和測試表外，你將再也不會拍任何別的東西。

這些人很容易辨別。如果你已經讀到這裏，你大概已經看過他們的網站了。
他們經常有很多關於器材的資訊，但是幾乎沒有真正的攝影作品。
如果一個網站沒有你崇拜的照片，你得當心它提供的資訊。

Nikon COOLPIX P60

Solid photographic performance, functional styling and an advanced feature set for excellent photos

January 29, 2008, Tokyo — Nikon Corporation is pleased to announce the introduction of the COOLPIX P60. Delivering reliability and familiarity within its orthodox design, the COOLPIX P60 satisfies the traditional camera enthusiast. Built on a custom application of Nikon's innovative EXPEED digital image processing concept and incorporating the precision optics of a NIKKOR lens, the COOLPIX P60 realizes optimum performance and maximum image quality.

An impressive effective megapixel count of 8.1 enhances the potential of the high performance digital image-processing engine for outstanding image quality, while an improved 5x Zoom-NIKKOR lens delivers yet more flexibility by ably covering a range from panoramic landscapes to close-up portraits.

Image sensor shift VR (Vibration Reduction) image stabilization compensates for camera shake or movement by unsteady subjects to realize yet sharper results. And extended light sensitivity up to ISO 2000 further helps prevent blurred shots in lower light, or when capturing fast-moving subjects. The COOLPIX P60 also offers Programmed Auto [P] and Manual [M] exposure modes, enabling the user to enjoy shooting in a variety of styles.

A functional body design with a defined grip for secure finger placement allows for intuitive operation including the use of the Mode dial. Compositional versatility, even in bright sunlight, is achieved thanks to its electronic viewfinder and a 2.5-inch LCD monitor.

Power is supplied by readily available AA-size batteries, which means the COOLPIX P60 can be used in virtually any location without worrying about recharging or running out of power.

Note: Specifications, design, product name, standard accessories, and release schedule may differ by country or area.

Nikon COOLPIX P60 Feature Highlights

Intuitive access to a wealth of practical shooting modes
The handy Mode dial includes settings for two exposure modes that provide greater personal control over camera operation. Programmed Auto [P] mode automatically selects the optimal shutter and aperture settings, while Manual [M] exposure mode provides full control over both the aperture and shutter speed settings. In addition, the COOLPIX P60 is equipped with a selection of 15 scene-optimized modes and four different movie modes.

Image sensor shift VR image stabilization for sharp images
The COOLPIX P60 features the image stabilizing performance of image sensor shift VR capability. The system applies in-camera image processing to help overcome the effects of camera shake and produce satisfyingly crisp results, while also contributing to a reassuring shooting experience.

ISO 2000 capability for better pictures in lower light
With an extended light sensitivity range from ISO 80 all the way up to ISO 2000, the COOLPIX P60 makes it easier to take great-looking pictures in lower lighting conditions, or to capture fast moving subjects with impressive clarity.

AA-size batteries for shoot-anywhere convenience
Experience the convenience of an AA-size battery compatible compact digital camera. Thanks to the advantage of being able to pick up a new set of batteries in virtually any corner of the world, users can shoot with reassurance, free of any worries about recharging batteries or running out of power when a special shutter chance arises.

Nikon COOLPIX P60 Other Features

Three Unique Nikon Image Innovations
– Face-priority AF, In-Camera Red-Eye Fix, D-Lighting
Macro shooting from as close as 10 cm (4 in.)
4x digital zoom extends compositional freedom
Time zone function for easy setting of multiple locations
SDHC card compatibility
Approx. 12 MB of internal memory
USB connectivity
PictBridge support

AF-S DX Nikkor 16-85mm f/3.5-5.6G ED VR

The new high-power zoom DX-NIKKOR lens boasts a focal length range of 16 to 85mm, which makes it ideal for a broad range of shooting situations, including parties and other indoor events as well as building, portrait and scenery shots. When mounted on any DX-format Nikon digital SLR camera, the picture angle is equivalent to that produced by a 24 to 127.5mm focal length lens on a 35mm film or Nikon FX-format camera.

An ultra-compact Silent Wave Motor (SWM) built into the lens body ensures fast, quiet autofocus operation and complements the compact, lightweight design for superb handling. With dimensions of only Ø72 x 85 mm/Ø2.8 x 3.4 in., this new lens is easy to handle and carry.

Vibration Reduction II incorporated in the lens gives photographers the ability to shoot at shutter speeds up to four stops* slower than would otherwise be possible, thereby minimizing image blur caused by camera shake. This enables dramatically sharper handheld shooting at dusk or at night, or even in poorly lit interiors. Nikon’s VR function is incorporated in the lens, providing a stable viewfinder image, which ultimately makes framing and composing a scene far more comfortable and accurate.
*As determined in Nikon performance tests

The new high-performance optical system has been optimized for digital SLRs, with two ED glass elements and three a-spherical lenses that deliver higher resolution, high-contrast images while minimizing chromatic aberration. Nikon’s Super Integrated Coating ensures outstanding colour balance and reproduction while greatly reducing ghosting and flare. The rounded 7-blade diaphragm opening gives out-of-focus background elements a more natural appearance. The lens offers a short closest focus distance of 0.38 m/1.3 ft. throughout the entire zoom range.

The AF-S DX NIKKOR 16-85mm f/3.5-5.6G ED VR, a significant addition to the DX-NIKKOR lens lineup, is certain to become a favorite of photographers who seek a high-power zoom that covers a wide-angle range with superior portability.

Notes: DX-NIKKOR lenses are engineered and optimized for use on Nikon DX-format and FX-format digital SLR cameras. When mounted on an FX-format digital SLR, the camera’s DX-Crop Mode is automatically engaged, altering the image capture area accordingly. DX-NIKKOR lenses are not compatible with 35mm [135] or IX240 [APS] format film cameras.

Specifications, design, standard accessories, and release schedule may differ by country or area.

AF-S DX NIKKOR 16-85mm f/3.5-5.6G ED VR Major Features

5.3x zoom lens covering a wide focal range of 16 to 85mm (picture angle is equivalent to focal length of 24 to 127.5mm in Nikon FX or 35mm format)
Vibration Reduction II enables sharper pictures while shooting at shutter speeds up to four stops slower than would otherwise be possible
Optical design optimized for superior performance with Nikon digital SLRs
ED (Extra-low Dispersion) glass elements minimize chromatic aberration while providing higher resolution and superior contrast
Three a-spherical lens elements minimize various types of lens aberration
High-performance Nikon Super Integrated Coating achieves superior color reproduction while substantially reducing ghosting and flare
Nikon’s exclusive Silent Wave Motor ensures fast, quiet autofocus operation
Rounded seven-blade diaphragm opening makes out-of-focus elements appear more natural
0.38 m/1.3 ft. closest focus distance throughout the entire zoom range
Accepts 67 mm filter attachments

PC-E NIKKOR 24mm f/3.5D ED

The lens employs a special mount that enables up to ±11.5 mm shift and ±8.5° tilt for perspective control. Shift and tilt can be adjusted via convenient side-mounted controls while referring to the scales provided with gradations at 1mm or 1° intervals. The lens optics can be rotated up to 90° left or right for perspective control adjustment, and click-stops are provided every 30°.

The lens aperture can be preset by using the aperture ring and aperture stop-down button. It remains stopped down until the button is pressed again, for easy depth-of-field confirmation. Auto aperture control is also available for SLR models compatible with electromagnetic diaphragm (D3 and D300).

In addition to perspective control photographic applications such as shooting architecture and interiors, this lens can also be used for any subject that would require a 24mm wide-angle lens. With a closest focusing distance of only 0.21 m/0.7 ft. and a maximum reproduction ratio of 1/2.7, it’s also an excellent choice for close-up photography.

To ensure superior picture quality, the lens incorporates a host of state-of-the-art optical features and technologies. Nikon’s exclusive Nano Crystal Coat dramatically reduces ghosting and flare that can be caused by internal reflections. Three ED glass elements minimize chromatic aberration for higher-resolution, higher-contrast images. Three a-spherical lenses effectively correct spherical aberration and coma. And a rounded nine-blade diaphragm opening gives out-of-focus elements a more natural appearance. All of which adds up to exceptional optical performance even at the maximum tilt and/or shift settings.

As both a special-purpose lens and high-performance wide-angle lens, the new PC-E NIKKOR 24mm f/3.5D ED lens represents a significant addition to the field-proven NIKKOR lens lineup, providing professional and serious amateur photographers with innovative, effective solutions to photographic challenges.

Nikon UK is also pleased to share important news about two more lenses to expand and strengthen our PC NIKKOR lens lineup. The new PC-E NIKKOR 45mm f/2.8D ED and PC-E Micro NIKKOR 85mm f/2.8D will be exhibited at the PMA 2008 International Convention and Trade Show in Las Vegas, USA from January 31 to February 2, 2008.

Notes:
The Nikon D3 can be used without any limitation. With other cameras, there are limitations in tilt/shift operation. The Nikon F90X series, F90 series, F70, F60D, F55, F50D, F-401 series, F-801 series, F-601, F-601M, F3AF, F-501, PRONEA S or MF cameras cannot be used.　
Specifications, design, standard accessories, and release schedule may differ by country or area.

PC-E NIKKOR 24mm f/3.5D ED Major Features

Wide shifting and tilting range (shift: ±11.5 mm; tilt: ±8.5°)
±90° lens revolving capability for versatile tilt/shift effects
Maximum reproduction ratio of 1/2.7 (at 0.21 m/0.7 ft.)
Three ED (Extra-low Dispersion) glass elements for superior sharpness and color correction by effectively minimizing chromatic aberration
Three aspherical lens elements minimize various types of lens aberration
Nano Crystal Coat virtually eliminates internal lens element reflections, effectively reducing ghosting and flare
High-performance Nikon Super Integrated Coating delivers superior color reproduction while substantially reducing ghosting and flare
Rounded 9-blade diaphragm for more natural appearance of out-of-focus image elements
Lens aperture can be preset by using aperture ring and aperture stop-down button
With the Nikon D3 and D300, auto aperture control with electromagnetic diaphragm is possible

Nikon Coolpix P50

The Coolpix P50 is Nikon's attempt at a middle-ground camera: it's neither a point-and-shoot-only ultra compact nor a fully-fledged photographers' camera. Instead it's a pocketable digital camera that marries a sensible sensor to a useful lens and keeps the frills (and the cost), to a minimum. This is a camera to take everyday photos with, rather than one for getting particularly serious about photography. But in such a crowded market does the P50 have what it takes to make it onto our recommended list? Let's find out. Let's start by having a look at the headline features.

8.1 Megapixels and 3.6x wide-angle zoom
Face priority mode
In-Camera Red-Eye Fix
D-Lighting
SDHC card compatibility
Approx. 52 MB of internal memory

The P50 processing incorporates Nikon's Expeed "processing concept." This doesn't mean that it has the same processor as the Nikon D300 or D3 (in fact Nikon says that it doesn't refer to any specific parts or features). Instead, "Expeed" refers to "Nikon's original comprehensive concept of digital image processing... a system that embodies Nikon's intense passion for digital images." Which doesn't appear to mean a lot more than: 'contains Nikon picture cleverness.'

Nikon 18-55mm f/3.5-5.6G AF-S VR DX NIKKOR

Nikon were one of the first camera manufacturers to design digital-specific lenses matched to the DX sensor size, but then seemed somewhat reluctant to produce a true budget standard 'kit' zoom, finally succumbing with their original 18-55mm f/3.5-5.6 to accompany the launch of the D50 in April 2005. This lens was updated to a mark II version with the release of the D40 in November 2006, featuring a new external design and smoother zoom operation. Then barely a year later, they announced a wholly new version, this time equipped with a vibration reduction (VR) unit to combat camera shake; a lens which has now been confirmed as the standard companion to the D60 SLR. This lens is clearly Nikon's response to the widespread adoption of in-body stabilization systems by most other manufacturers (with the notable exception of Canon, whose own stabilized 18-55mm preceded Nikon's by just a few months), and allows them to offer stabilized dSLR kits at budget prices.

The incorporation of VR technology allows photographers to take substantially sharper pictures at slower shutter speeds than previously possible, and according to Nikon's own specifications, speeds up to three stops slower can be used before the image-degrading blur of camera shake becomes apparent. This should allow shooting in a wide range of low-light situations which would previously be impossible.

Changes compared to the non-VR version

As with Canon's 18-55mm IS upgrade, there are rather more changes from the previous Nikon 18-55mm than at first meet the eye. The physical similarity between the lenses masks a multitude of differences; most notably the new lens has a more complex optical formula of 11 elements in 8 groups as compared to 7 elements in 5 groups, and interestingly the new lens loses the Extra-low Dispersion (ED) glass element of its predecessor. The use of ED elements allows superior correction of image aberrations in simpler lens constructions, and presumably Nikon consider the more complex design of the new lens renders their use superfluous.

Other changes include a modest increase in size, with about 3mm added to the diameter and 6mm to the length, and a 60g increase in weight. As seems to be the current fashion, the smooth black plastic of the old lens has been replaced by a new stippled matte black finish, which resembles magnesium alloy and matches the D60 body. Other differences include a larger rear lens element (20mm vs 15mm), an additional circular flare-cut diaphragm placed in front of the aperture assembly, and new 'Super-Integrated Coatings'. Overall this newcomer is clearly a completely different beast to the old lens, and as the old 18-55mm had an unusually high reputation for image quality (for a kit lens at least), we will be interested to see if the new version maintains this standard.

Headline features

27-82.5mm equivalent focal length range
Optical vibration reduction – 3 stops
F mount for Nikon DX dSLRS only

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