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http://vimeo.com/2211772

flash

AA模式：
以空間中平均反射光量(三維)來判斷光線截斷時間，
若是遇到大背景、小主體時則以【最近主體反射】為判斷依據，
頗適合廣角大畫面、中距離主體+大背景、跳燈加格時運用，
但是在長焦鏡運用時會失準(因為電眼判斷角度有限)。
⋯⋯
●A模式：
SB800等閃燈之【高反差淺景深】隱藏密技，
迫使D70等電子式快門機，在正常拍攝情況下，
使用超過1/1000s-1/8000閃燈同步快門，
適用於海邊、棚內需要大光圈淺景深人像攝影時，
把單點觸發以外之感應點封住即可，
記得減一格。
TTL+BL模式：
目前此法個人放棄不用，
因為立體空間中加入【複雜背景曝光資訊】，
高反差下常令【前主體曝光結果大幅震盪】，
若有高角、低反差、拍單近景才有用。
⋯⋯
●TTL模式：
以整體平面畫面(二維)平均值來判斷，並對前主體作加權，
個人覺得較符合光線在拍攝空間中行進的原理，
目前較常用此模式，但若遇到【背景面積】大於主體時會誤判，
(AA模式解決)。

設置白平衡

設置白平衡 Beginner Content

In the Degrees Kelvin setting the water is white, which is how it actually appeared.設置在開氏度的水是白色的，這是他實際上是怎樣出現。
Download now Read More 現在下載 更多


Actually, setting your camera's white balance is the easy part.其實，設置相機的白平衡是容易的部分。 What's a little trickier is understanding why you should make a particular setting.什麼是有點棘手的是理解為什麼你應該做一個特定的設置。

The color of an object is affected by the lighting conditions under which it is viewed.一個物體的顏色是受光照條件下，它被認為是。 Our eyes and our brain compensate for different types of light—that's why a white object appears white to us whether it's viewed in sunlight, under overcast skies or indoors under incandescent or fluorescent light.我們的眼睛和大腦的補償不同類型的光，這就是為什麼會出現一個白色物體白給我們無論是在陽光下看，在陰天或室內白熾燈或熒光燈下。 But digital cameras need help to emulate this process, to compensate for different types of lighting and render a white object white.但數碼相機需要幫助來模擬這一過程，以彌補不同類型的燈光和渲染一個白色物體的白色。

The white balance setting is that help.白平衡設置是幫助。

We can simply set auto white balance and the camera will read the scene's color temperature (basically the hue and intensity of a particular light source, measured in degrees Kelvin) and choose a setting from its collection of pre-programmed adjustments.我們可以簡單地設定自動白平衡，相機會讀場景的色溫（基本色調和強度的特定光源，測量在開氏度），並選擇設置其收集的預編程的調整。 That's a good solution when a scene's lighting is pretty much all of one type and there's a prominent white or neutral subject in the scene.這是一個很好的解決方案時，現場的燈光幾乎所有的同一類型和存在的一個突出的白色或中性的話題，在現場。

In most cases, though, accurate color rendition is going to call for a manual white balance setting.在大多數情況下，雖然，準確的色彩還原是要去拜訪了手動白平衡設置。 Those settings choices are incandescent, fluorescent, flash, cloudy, open shade, sunny, Kelvin color temperature and PRE.這些設置的選擇是白熾燈，熒光燈，閃光燈，陰天，戶外陰影，陽光明媚，開爾文色溫和PRE。

The Incandescent setting is best for traditional household bulbs; Fluorescent will prevent the green cast common to photos taken in fluorescent light; Cloudy will add a bit of warmth to the light; Flash adds a more aggressive touch of warmth to take the edge off the bright light of a flash; Open Shade adds a slight pink tone to eliminate the blue cast that shadows take on in open shade; and Sunny sets the color temperature to 5000 degrees Kelvin, which is typical of mid-day sun.白熾燈設置傳統的家庭是最好的燈泡;綠色熒光將防止演員共同拍攝的照片在熒光燈;多雲將增添幾分溫暖的光線閃光增添了一抹溫暖更積極採取了明亮的邊緣光的閃爍;戶外陰影增加了一個輕微的粉色調，以消除陰影的藍色投下的陰影採取公開和陽光的色溫設置為 5000開氏度，這是典型的中午的太陽。

Then there's the Kelvin Color Temperature setting.還有的開爾文色溫設置。 It's a do-it-yourself choice, in which you actually set the degrees Kelvin to affect how the camera will see and render the hue and intensity of colors in the scene.這是一個做自己動手的選擇，在其中您實際設置開氏度，影響相機如何將看到和呈現顏色的色調和強度在現場。 Using the Kelvin setting you can fine tune those colors to your definition of "accurate," or skew the colors to reflect your choice of the scene's mood and feeling.利用開爾文設置​​，您可以微調的顏色你的定義的“準確”或歪斜的顏色，以反映您所選擇的場景的情緒和感覺。 And when you turn on your Nikon camera's Live View, you will see in real time the result of your specific Kelvin color temperature choices.當您打開您的尼康相機的實時顯示，你會看到實時的結果您的具體開爾文色溫選擇。

Finally, you can choose PRE, the so-called "white card" setting.最後，您可以選擇前，所謂的“白卡”設置。 With that option selected, hold a white card in front of the lens and press the shutter button.與該選項選擇，持有白卡在前面的鏡頭，按下快門按鈕。 The camera will read and lock in the color temperature of the light reflected from that card, and that locked-in reading now becomes the standard for the camera's white balance setting.相機會鎖定在閱讀和色溫的光線反射該卡，並鎖定在閱讀現在成為標準的相機的白平衡設置。 PRE is an ideal way to handle a scene that presents mixed lighting—fluorescent lights in the ceiling and daylight streaming through a window, for example—because it takes into account all the lighting in the scene.預是一種理想的方式來處理的場景，呈現混合照明，熒光燈在天花板和日光流通過一個窗口，例如，因為它考慮到所有的燈光在場景中。 (The locked-in setting is maintained in PRE until you take another white card reading.) （該鎖定的設置是保存在預，直到你把另一個白卡閱讀。）

No matter how you set your white balance, check the results of your choices on the camera's LCD and adjust according to your preference.無論您如何設置您的白平衡，檢查的結果你的選擇在相機的LCD和根據自己的喜好調整。 Often your choice will depend on the look, feel and mood you want for your picture.通常你的選擇將取決於外觀，感覺和情緒，你想為你的照片。 And remember, Live View will show you the effect of your choice before you take the photo.請記住，現場查看將向您展示您所選擇的效果，然後再進行拍攝。


設置在開氏度（左）水是白色的，這是他實際上是怎樣出現。 The Auto White Balance setting (right) did a good job, but it didn't accurately depict the white water.自動白平衡設置（右）幹得不錯，但它並不能準確地描繪了白色的水。 The selected Kelvin temperature was 4435, and turning on Live View enabled photographer Lindsay Silverman to see the results as he selected different Kelvin settings.選定的開爾文溫度為 4435，並打開實時顯示啟用攝影師林賽西爾弗曼看到的結果，因為他選擇不同的開爾文的設置

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Nikon Technology 尼康技術
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Capture Your World 捕獲你的世界
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Insights & Techniques 洞察與技術
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Fundamentals of Photography 基礎攝影
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Shooting Techniques 拍攝技巧
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Image Editing 圖像編輯
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Nikon School & Workshops 尼康學校及工作坊
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Nikon World 尼康世界
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NPS Pro Spotlight 核動力源臨焦點
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Photography Glossary 攝影術語
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iPhone App iPhone應用程序

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1. Setting White Balance

Setting White Balance設置白平衡 Beginner Content

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In the Degrees Kelvin setting the water is white, which is how it actually appeared.設置在開氏度的水是白色的，這是他實際上是怎樣出現。
Download now Read More 現在下載 更多

* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
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* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼
* ©林賽西爾弗曼

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Actually, setting your camera's white balance is the easy part.其實，設置相機的白平衡是容易的部分。 What's a little trickier is understanding why you should make a particular setting.什麼是有點棘手的是理解為什麼你應該做一個特定的設置。

The color of an object is affected by the lighting conditions under which it is viewed.一個物體的顏色是受光照條件下，它被認為是。 Our eyes and our brain compensate for different types of light—that's why a white object appears white to us whether it's viewed in sunlight, under overcast skies or indoors under incandescent or fluorescent light.我們的眼睛和大腦的補償不同類型的光，這就是為什麼會出現一個白色物體白給我們無論是在陽光下看，在陰天或室內白熾燈或熒光燈下。 But digital cameras need help to emulate this process, to compensate for different types of lighting and render a white object white.但數碼相機需要幫助來模擬這一過程，以彌補不同類型的燈光和渲染一個白色物體的白色。

The white balance setting is that help.白平衡設置是幫助。

We can simply set auto white balance and the camera will read the scene's color temperature (basically the hue and intensity of a particular light source, measured in degrees Kelvin) and choose a setting from its collection of pre-programmed adjustments.我們可以簡單地設定自動白平衡，相機會讀場景的色溫（基本色調和強度的特定光源，測量在開氏度），並選擇設置其收集的預編程的調整。 That's a good solution when a scene's lighting is pretty much all of one type and there's a prominent white or neutral subject in the scene.這是一個很好的解決方案時，現場的燈光幾乎所有的同一類型和存在的一個突出的白色或中性的話題，在現場。

In most cases, though, accurate color rendition is going to call for a manual white balance setting.在大多數情況下，雖然，準確的色彩還原是要去拜訪了手動白平衡設置。 Those settings choices are incandescent, fluorescent, flash, cloudy, open shade, sunny, Kelvin color temperature and PRE.這些設置的選擇是白熾燈，熒光燈，閃光燈，陰天，戶外陰影，陽光明媚，開爾文色溫和PRE。

The Incandescent setting is best for traditional household bulbs; Fluorescent will prevent the green cast common to photos taken in fluorescent light; Cloudy will add a bit of warmth to the light; Flash adds a more aggressive touch of warmth to take the edge off the bright light of a flash; Open Shade adds a slight pink tone to eliminate the blue cast that shadows take on in open shade; and Sunny sets the color temperature to 5000 degrees Kelvin, which is typical of mid-day sun.白熾燈設置傳統的家庭是最好的燈泡;綠色熒光將防止演員共同拍攝的照片在熒光燈;多雲將增添幾分溫暖的光線閃光增添了一抹溫暖更積極採取了明亮的邊緣光的閃爍;戶外陰影增加了一個輕微的粉色調，以消除陰影的藍色投下的陰影採取公開和陽光的色溫設置為 5000開氏度，這是典型的中午的太陽。

Then there's the Kelvin Color Temperature setting.還有的開爾文色溫設置。 It's a do-it-yourself choice, in which you actually set the degrees Kelvin to affect how the camera will see and render the hue and intensity of colors in the scene.這是一個做自己動手的選擇，在其中您實際設置開氏度，影響相機如何將看到和呈現顏色的色調和強度在現場。 Using the Kelvin setting you can fine tune those colors to your definition of "accurate," or skew the colors to reflect your choice of the scene's mood and feeling.利用開爾文設置​​，您可以微調的顏色你的定義的“準確”或歪斜的顏色，以反映您所選擇的場景的情緒和感覺。 And when you turn on your Nikon camera's Live View, you will see in real time the result of your specific Kelvin color temperature choices.當您打開您的尼康相機的實時顯示，你會看到實時的結果您的具體開爾文色溫選擇。

Finally, you can choose PRE, the so-called "white card" setting.最後，您可以選擇前，所謂的“白卡”設置。 With that option selected, hold a white card in front of the lens and press the shutter button.與該選項選擇，持有白卡在前面的鏡頭，按下快門按鈕。 The camera will read and lock in the color temperature of the light reflected from that card, and that locked-in reading now becomes the standard for the camera's white balance setting.相機會鎖定在閱讀和色溫的光線反射該卡，並鎖定在閱讀現在成為標準的相機的白平衡設置。 PRE is an ideal way to handle a scene that presents mixed lighting—fluorescent lights in the ceiling and daylight streaming through a window, for example—because it takes into account all the lighting in the scene.預是一種理想的方式來處理的場景，呈現混合照明，熒光燈在天花板和日光流通過一個窗口，例如，因為它考慮到所有的燈光在場景中。 (The locked-in setting is maintained in PRE until you take another white card reading.) （該鎖定的設置是保存在預，直到你把另一個白卡閱讀。）

No matter how you set your white balance, check the results of your choices on the camera's LCD and adjust according to your preference.無論您如何設置您的白平衡，檢查的結果你的選擇在相機的LCD和根據自己的喜好調整。 Often your choice will depend on the look, feel and mood you want for your picture.通常你的選擇將取決於外觀，感覺和情緒，你想為你的照片。 And remember, Live View will show you the effect of your choice before you take the photo.請記住，現場查看將向您展示您所選擇的效果，然後再進行拍攝。


In the Degrees Kelvin setting (left) the water is white, which is how it actually appeared.設置在開氏度（左）水是白色的，這是他實際上是怎樣出現。 The Auto White Balance setting (right) did a good job, but it didn't accurately depict the white water.自動白平衡設置（右）幹得不錯，但它並不能準確地描繪了白色的水。 The selected Kelvin temperature was 4435, and turning on Live View enabled photographer Lindsay Silverman to see the results as he selected different Kelvin settings.選定的開爾文溫度為 4435，並打開實時顯示啟用攝影師林賽西爾弗曼看到的結果，因為他選擇不同的開爾文的設置。


These photos were made using an SB-800 Speedlight.利用這些照片進行了一個 SB - 800閃光燈。 Flash White Balance (left) does a better job of depicting the scene than Auto White Balance (right), which had trouble with the fluorescent and other lights in the scene.閃光燈白平衡（左）做了更好的工作場景的描繪比自動白平衡（右），該問題與熒光燈等在現場。


The Cloudy White Balance setting (left) warms the hands but doesn't produce the bright white of Auto White Balance.陰天白平衡設置（左）溫暖的手，但不會產生明亮的白色自動白平衡。


Open Shade White Balance (left) gives the scene more warmth, but Auto White Balance (right) results in whiter whites.戶外陰影白平衡（左）為現場更溫馨，但自動白平衡（右）的結果在白的更白。


Auto White Balance (right) warms up the ship's interior, which was lit by incandescent light, but the Incandescent setting (left) captures all the tones as they really were, adding a feeling of depth to the scene.自動白平衡（右）預熱船舶的內部，這是點燃的白熾燈，但白熾燈設定（左）捕獲所有的音調，因為他們真的是，增加了感覺深入到現場。


Auto White Balance (rigth) can't correct for the fluorescent illumination.自動白平衡（rigth）不能正確的日光燈照明。 Fluorescent White Balance (left) is designed for exactly this kind of scene.熒光白平衡（左）是專為正是這種景象。 Note the difference not only in the vegetables, but also in the white of the cloth.請注意區別不僅在蔬菜，而且在白色的布。


Auto White Balance (right) produced a pleasing, balanced image, but the PRE (or white card) photo (left) is warmer, with whiter whites and an overall faithful rendition of the scene's colors.自動白平衡（右）製作了一個美觀，均衡的形象，但前（或白卡）照片（左）是溫暖，與白的更白和總體忠實再現了場景的顏色。 The white card reading balanced the scene's mixed lighting quite well.白卡閱讀均衡場景的混合照明非常好。

原相直出

十幾年前，直接出相叫初哥，黑房技出相果D 先係大師傅。

而家，原相直出就係強，用數碼黑房就係假相。

ai 同 ai-s 有咩分別

Ai - Automatic Maximum Aperture Indexing 的縮寫，自動最大光圈信息傳遞。該技術發佈於1977年，是Nikon F-mount的第一次大幅改進。AI是指可將鏡頭的最大光圈值傳遞給測光系統以便進行正常曝光。當一個AI鏡頭被裝在兼容AI技術的機身上時，該鏡頭的最大光圈值在機械聯動撥桿的耦合和驅動下傳遞給機身，以實現全開光圈測光。
AI鏡頭在鏡頭尾端有測光連動脊(Meter Coupling Ridge)和測光連動桿(Meter Coupling Lever)配合，使鏡頭能與相機連動！如此一來機身就可以知道鏡頭上所調整的光圈大小，相機可作全開光圈測光，全開光圈對焦時觀景窗更為明亮對焦較為容易，不必像一些相機需先對焦完成，再縮小光圈測光。


Ai-S - Automatic Maximum Aperture Indexing (Shutter Priority)的縮寫，1982年，Nikon公司對全線的AI鏡頭進行了改造，以便使它能夠與即將上市的FA高速程序曝光方式完全兼容，這些經過改造後的新型鏡頭就是AI-S鏡頭。該鏡頭有以下特徵：1) 若鏡頭焦距為135mm或以上，執行的程式偏向使用鏡頭最大光圈，直到快門可達1/125秒，如此便可解決長焦距鏡頭或變焦鏡頭產生手震或無法拍攝迅速移動中的主體。2) 若鏡頭焦距為135mm以下，當快門達到1/8秒以上的速度，執行的程式就會偏向縮小光圈，以求更大景深。但是當時的AI系列鏡頭和機身並沒有做到可以知道焦距長短的設計，因此AI-S系列的鏡頭誕生，解決了這個問題。在AI-S鏡頭後面，設計了一個突起的部份，而在機身接環的附近也設計了凸桿，如此利用機械傳遞的方式傳送訊號。由於FA使用機械裝置連動光圈的設計使機身具備快門先決(S)，可以使用AI-S鏡頭實現快門先決，當使用快門先決(S)和程式曝光(P)時，都必須將鏡頭設定在最小光圈。

nikon capture nx2

個 program 一般只能同時開 4-5 個 raw
apply effect 要有 instant effect 呢,
先揀好 NR setting, 滿意後 turn off, 去做其他修改, 完成後, 先 turn on NR setting,
再去返 last step 做 final update 同 save.
新機有時唔甘做, 速度都重接受到.
如非 NX2 可非破壞性 save 修改內容入 raw file, 及大部份工具易順手又好用的話,
真係唔會容忍甘既速度.
佢個 concept 係由上到下順序疊加的.
如果執到後面, 先返去上面改野, 甘返去最下面既 step 時,
會見到已受新改變影響.

同理, 加左野再返去之前的 step 操作時, 會發現後來的 step grey out (無效)
正因如上所講的疊加方式運算.

個人建議係, quick fix 內既野盡量先修正好, 然後再添加其他操作/效果.
因為回到quick fix 修改後, 再去返 last step update 所有疊加效果的話,
等同重新 render, 如非必要的話, 返來複去加 render 係相當浪費時間.

我既操作 for ref: 一般先修正 exposure (如有), 然後就搞 wb, 之後先稍稍執下 NR 或 qucik fix 內的選項.
之後先進行其他處理 ( LCH/u-point/color balance ), 最後先裁相縮小及 sharpening.
我估一般係搭自家 raw processing software 最能還原色彩.
之前都題過果, 例如 picture style 呢類 custom curve 或 settings, PS camera raw/LR 似乎讀唔到
(聞說最新版而可讀 D2x 等舊型開內置的 curve, 但自制的未得).
故以 PS/LR 處理的話, 操作上可能有點 "由零執起" 的感覺...

NX2 係好慢, 但好多時執完就可出街, 唔使用 PS 再過.
除非有好仔細的處理要進行 (e.g. 數碼黑卡), 或者加簽名等等,
甘就要 ps 了.
adjustment 既 C & P 係好 on_ 既.
quick fix 內, 有 wb 個 group 同有 curve 個 group 似乎係要分開,
個別進行 C & P 先得. (即兩個 group 一次過係不行)

然後, quick fix 以外自行添加既操作, 又可以幾個一齊進行....
真係 R 頭. 不過有 D 自行調節都幾醒...e.g. 橫度 resize paste 去直度時, 識得長邊對返長邊 apply.

不過 wb c & p 要留意, 如果係手動灰點修改的話, 數即似乎係以相對值 paste 過去.
而非直接填入相同數字就算. 至如相對值的參考基準, 我就無再研究了
不過我試另一個方法, 把develop, quick fix同adjust三個panel minimize後... 我發覺... 原來我hold按shift可以select 這三個panel, 之後再按copy adjustment... 試過多數都可以copy到晒三個panel的setting (actually, 我唔知關唔關我shift select佢地事), 不過又唔係次次得... 隻software真係幾... 唔掂...