Pretty Pictures.

When you can no longer call yourself "a photographer."

For the last twenty-five years I've wanted to be called "a photographer."  My self image was that of a professional photographer who spent his time solving visual problems and taking my client's creative concepts and translating them into photographs. I've made a good living doing it. My idea of a great job was being asked to shoot a conference in Monte Carlo and then hopping a flight to Rome to shoot some portraits for a large corporation and then  dropping by London for some additional imaging on my way home.  And for a good long while I got to do just that.  Of course it was all mixed in with countless head shots in various studios and makeshift studio spaces, annual reports in wastewater treatment plants in the middle of nowhere and lots and lots of shots of products against white sweeps.  In the off hours I shot "art" for myself.

But when I woke up this morning the label just didn't fit anymore. This morning I'm packing and doing pre-production on a television commercial I'll be shooting this afternoon/evening.  I spend more time blogging than actually shooting with a camera in my hands and I've spent at least as much time writing books in the past three or four years as I have on location. I've earned as much money writing presentations as I have doing head shots.

Our profession is going through profound changes and it's never, ever going back to the way we used to do things. It can't. The simple bread and butter stuff we used to do to "fill in" financially around the edges is gone.  More and more agencies are pulling photographers in-house to do the day to day stuff and that leaves only the bright, brilliant creative work for the freelance people. And not all of us can be brilliant all the time. But in the agency world long term counts for nothing.  It's all about a great execution of the flavor of the day.  In a real way, the best and the brightest can only stay in place with constant re-invention and constant marketing.

I have friends who've been waiting for the market to "cycle back through..." but there's no cycle to the creative product, only destruction and re-creation.  And the re-creation has to be genuine to work.

I'm checking on the crew.  Calling the make-up and hair people for last minute confirmations.  We're shooting "green screen" so I've revisited what's worked and not worked in the past.  I'm a little, tiny bit nervous because we've never done a green screen project with the new LED lights. I worry that we won't get enough coverage or that we won't be able to control the spread but I know we can deal with it.

I'm shooting with the Sony a77's. I like the feature of the EVF.  Maybe not all still photographers have warmed up to the EVF's yet but for video it's pretty great. You can check your focus via focus peaking and get a good read on exposure and clipping. No need for Zacuto or Hoodman loupes.  For playback we'll run the HDMI out into a separate (and much larger) monitor.  We're splitting the audio signal at the mic mixer.  One feed will go into the camera and the other feed will go into a Tascam digital audio recorder. Ben will be monitoring and riding levels on the Tascam.  The camera will go AGC.

I think we'll be able to use the sound from the camera, even though it will go through the camera's auto gain control, because each take is three seconds or so.  Just long enough for a brief line from an actor.  Not enough time or space between words to make the AGC circuit "pump."  But if it does we'll have clean, sync-able back-up with the Tascam.

We need to be prepared to move quickly this afternoon.  We get the location from 3:30pm and we need to be out by 6:30pm.  We've got two actors and a list of shots to get. We're still waiting to hear from the editor about whether he's decided on 60fps or 24fps.  I like 24 but he'll be editing down for TV so it'll all end up at 30fps.

In the recent (pre-2008) past I'd probably be sending out some new mailers and cruising through the Summer. This time around I've got a novel that's begging to be put to bed, a new book about portraits that needs to get started and several other television projects.  Not sure I could even make a living doing what I used to do....solely as a still photographer and I'm not sure I want to experiment and see.  I'm sure there are still lots of profitable niches left but every time I talk to an art director they tell me about shooting an ad in pieces with Canon Rebels and iPhones and putting it together and massaging it for a week in PhotoShop.  These aren't little "mom and pop" shops, these are ad agencies with multinational clients.  They all have production departments. The usually have two or three employees who are avid photographers. The companies have budgets for whatever gear they want.  Let's face it, it's not that hard to get a usable photograph these days.

Something special? That might be harder but the reality is that ad agencies make their money by speaking the visual language of the masses. They shy aways from stuff that's too forward and too modern. They really do a lot of bread and butter.

I don't do kid's sports (other than a few shots for the swim club) but that's another area that was once quite profitable and it now going through a similar process. Photography is the world's biggest and fastest growing hobby and the last time I was at a soccer game in West Austin there were dozens of moms and dads sporting Nikon D3s cameras and big white or gray lenses. They'd rather photograph their own kids... And every dad or mom with a camera loves to share. Do I blame them? No, at Ben's cross country meets I'm one of the dads, front and center, white lens at the ready.  Would I buy a picture from a vendor?  If it was one I couldn't get. Maybe.

My take on all of this is grimly optimistic. Just as desktop publishing put professional typesetters out of business by turning all the rest of us into semi-professional typesetters photography, as a profession, is losing the really profitable ground quicker and quicker.  In a sense, we are the Kodak of industries.

I think there will be markets that throw off some money for the next five or so years but the smart guys have already left the industry to set themselves up as publishers, workshop leaders, DVD producers, workshop leaders, Creative Live presenters, workshop leaders, photo expedition leaders and workshop leaders.  What does this mean for you if you are a hobbyist? Not really a damn thing. More people to chat about photography with over coffee or beer.  More really fun gear to buy.  More teachers available to help you make better photographs.  More opportunities to do stuff for free that used to be valuable.

In my business we still advertise and pitch photography.  We've moved from black portfolio cases and glassine pages stuffed with prints to iPads with Retina screens.  We show stills but we also show motion.  We talk about whatever aspect of content creation our clients need.  I am just as ready to help a company with writing spec sheets or a conference presentation as I am photographing their widget or their new building.

Going forward we are entering the era of the creative content provider as opposed to the discrete, dedicated still photographer. It's an interesting way to make a living.  Now you have to be good at more things. A challenge is always good, especially if you can figure out how to rise to it....

So,what are we packing for the video adventure today? Five big LED panels. Two medium, battery powered panels, five small panels as accent lights. A muslin green screen.  10 light stands. Background stands, a whole assortment of Westcott FastFlags, stingers (extension cables), an assortment of shotgun microphones, a microphone boom, a fluid head tripod and a slider, two Sony a77 cameras with an assortment of lenses, a bunch of fast SD cards, a slate, "A" clamps, Two apple boxes, the digital audio recorder and a bunch of water.

Thankfully, all the shooting will be inside, in air conditioning. Only the load in and the load out will be done in the heat.  Once we get this wrapped up it's back to the laptop to finish the final edits on my first novel.  The one about the nervous but intrepid photographer caught up in a web of intrique on a shoot in another country.  It's good. Well, at least I think it is...

Off to pack.  Not bitter, not pessimistic.  Just reading the landscape.

edit: June 27th:  Looks like I am not alone: http://www.bythom.com/gettingbetter.htm

Summer time in Austin. A quick photo another summer.

Ben at a swim meet.

Let's drop the cameras for a few days and go swimming...

We're back. This article is worth reading.

In the meantime this is a fun read:

http://www.theglobeandmail.com/technology/photo-overload-everyones-taking-pics-but-is-anyone-really-looking/article4365499/

I love the idea that people are always fidgeting with their smartphones because they can no longer smoke cigarettes in most places and don't know what to do with their hands....

edited 6/25  to add:


http://jmcolberg.com/weblog/extended/archives/photography_after_photography/

This is a nicely prodding piece of writing as well...

And, a book by the original photo critic, A. D. Coleman...

This is my style. This is my look.

6/25: Image edited this morning with a judicious square crop.

Anyone who practices a craft goes through a period wherein they feel they've lost their mojo. The magic touch that is part of their unique style. Nothing that used to work seems to work anymore and the artist goes through a period of loss that calls into question their skills, their vision and their very reason to keep going.  I know, I've been there.  And more than once.

I've been working with digital cameras for more than a decade but I was never able to duplicate the look I got when I was shooting portraits on black and white film back in the 1990's.  I've been bouncing from camera system to camera system hoping that I'd find a camera that would do the magic for me.

Recently I started shooting portraits with a Hasselblad film camera and black and white film. I kept thinking I was closing in on the old feel I used to have but at best they were glancing blows, resonance of memory imposed on technique.  But yesterday I think I got my mojo back.  An old friend came into town and I set up the kind of light I used to use when I photographer her nearly twenty years ago.  A big, soft light used in as close as I could.  A black panel to the opposite side to keep the spill light from bouncing around the room and ruining the integrity of my wonderful deep shadows.

My model was intuitive.  She seemed to sense what I was looking for, filling the missing pieces in the puzzle I had scattered in front of me. I work in an almost detached and automatic way, adjusting the light, adjusting the pose and adjusting the give and take.

When the session was over and we said, "goodbye" I sat down and started looking through the files. I ran them through as much post processing as I needed to get them back to the state that was almost automatically achieved in the days of big film (if you considered hours in a darkroom to be "automatic"). And when the file looked back at me from my monitor I knew that I could keep doing portraits. A mental block had been lifted.  I showed myself (dragged kicking and screaming) that I could do what I wanted to do with digital cameras.  I hadn't lost my chops, rather I'd submerged them in the subconscious resistance to change.

To paraphrase Frank Costanza in the Jerry Seinfeld Show, "I'm back, baby!"

Making Portraits.

The quiet moments between the poses are as valuable and interesting as the poses we plan.

Postprocessing as the equivalent of darkroom techniques.

From this afternoon's portrait session. Minimal processing.

Nikon D3200 and kit lens. ISO 100.

And one more variation processed to make the image in line with what I ultimately wanted to see:

All images ©Kirk Tuck 2012

I think the discipline of post-processing should be a process of distillation rather than aggrandizement.  At a certain point it's up to the content of an image to carry the day, not the package the image comes in.

First Portrait with Nikon D3200 camera and kit lens.

From this afternoon's portrait session.

Enduring Beauty. An afternoon portrait session.

I first photographed Lou nearly twenty years ago.  You've seen her portraits from that era on the Visual Science Lab many times. We had the chance to work together again, this afternoon. When she walked into the studio I thought she had been frozen in time.  Once in a great while  you run across a natural beauty. It can knock the breath out of you.

Lou Lofton is the author of, Warren Buffett Invests Like Girl, And Why You Should Too.  She was an analyst and writer for the Motley Fool financial website and.....she was Ben's very first babysitter.

The portrait above was taken with a Sony a77 camera and the 70-200mm f2.8 G zoom lens. ISO 50.  Lighting: Elinchrom Ranger RX AS with a 72 inch Fotodiox umbrella and diffuser.

I also used a Nikon D3200 and a Hasselblad MF film camera during the session.

People in public. Originally posted in Oct. 2009.

The irrational fear of people in public places. 

Image from Rome. The Pantheon in the background. Circa 1994 ©2009 Kirk Tuck

My wife will tell you that I spend too much time reading photo fora on the web. I've begun to see that she's right because I keep reading the same stuff in new disguises. This morning a fellow posted a photo at the Strobist Discussion group. He was amazed to find that Cabella's sporting good store might have used an off camera flash to create one of their ads. Amazing. As though we advertising photographers had never used an off camera flash or taken lights outdoors!!!

But the thing that struck me recently is how cowardly people have become about their gear. I've seen ten or fifteen posts in the last week from (mostly Americans) people who want to know how to safeguard their equipment in such dangerous places as: Paris, France and Rome, Italy and even, gasp, Copenhagen, Denmark. The thing that strikes me as funny is that each of these places has a much lower violent crime rate than just about any major city in the U.S. And each of these cities is a pedestrian city where, even in the unlikely event of a crime being perpetrated, you are surrounded by helpful people ready to jump in and help ensure social stability.

The idea that your Canon Rebel needs be locked in a hotel safe or secured to your body with a special strap containing unbreakable wires (what a good way to be decapitated should your camera get stuck in a train door......) is laughable. If you are dragging that much paranoia along on your vacation you may need to invest in other things. Therapy comes to mind. More wide ranging travel is another.

The second kind of post that seems to come up, with annoying regularity, is the idea that, to shoot in the street, you must become a stealthy ninja and your camera should be so small that it becomes all but invisible at any distance beyond five feet. The idea being, I guess, that a hulking American, complete with baggy cargo shorts, a promotional T-shirt for their favorite NFL team, white athletic socks, and day-glo Nike running shoes (never used for that purpose), topped with a baseball cap, will be able to sneak through a crowd of well dressed Europeans and will be able to position themselves in just the right way to SECRETLY take startling good photographs.

Their ideal camera is silent with an incredible zoom lens and a very small foot print. Either that or a Canon/Nikon/Sony/Olympus coupled with a bag full of lenses. Which they are deathly afraid some grandmother from Provencal will slit their throat to own.

Face it. You'll probably stick out. Face it. People will see that you have a camera in your hand. And unless you are doing your tourism in the Sudan you'll see when you look around that almost everyone else has a camera or a cellphone with a camera, or a video camera. They're everywhere. They are ubiquitous. Believe me, people in the European community also buy and use cameras.

Back in 1994 Belinda and I headed to Rome for a few weeks of vacation and photography. I brought along one camera. A Hasselblad 500c/m and a 100 mm f3.5 planar lens. That, and a few one gallon ziploc bags of tri-x 120 film. I spent most of my time walking along shooting whatever caught my attention. If a person looked interesting I'd ask them to pose. Sometimes I'd just smile, nod and shoot.

Books on travel caution newbies to be constantly aware of their surroundings. Hypervigilant if you will. I discarded all that advice out of necessity. After every twelve frames I'd have to stop and reload the 120 back on the camera. Since I was using a waist level finder I often had to stop as the light changed and take incident meter readings. No one cared. Every once in a while an older gentleman would ask about the camera. Younger people ignored it.

After a long morning and the better part of an afternoon spent poking into the nocks and crannies of Rome (and there are many) I sat down for a moment,at an outside table, at the closest food vendor with a direct view of the Pantheon. The restaurant was a McDonalds. The couple in front of me was having an animated conversation. I looked into my viewfinder, framed the shot, adjusted the exposure and fired the shutter. It was not a silent camera given the size of the moving mirror..... The couple turned to look and I smiled and nodded. They smiled back and with their tacit approval I shot several more images where they looked into the lens.

No one was fearful. There was no conflict or even a hint of animosity or aggression from either side. And this is the way it has gone for me and other street shooters for decades and decades. If someone doesn't want to be photographed they'll let you know. If you don't push it they won't either.

I like the image above. With billions and billions of images swirling around out in the attention-o-sphere there is a very small percentage that are relational. I like images that either speak directly to the viewer or show relationships.

The first (and probably only) step is to conquer your irrational fears that: A. Someone is always trying to rip you off. B. That everyone who is photographed instantly turns into a serial killer and they are aimed at you. C. You won't have people's willing complicity.

If you are calm, relaxed and see other people as, well, just other people, you'll probably do just fine. You might want to practice photographing strangers by becoming a tourist in your own town. I find that a nice weekend of street shooting in nearby San Antonio is just the right "warm up" before a trip abroad.

Get comfortable outside your comfort zone!

Bon Voyage. Kirk

Posted 5th October 2009 by kirk tuck

Quiet Photography with an older camera and a shiny lens.

Sundays are all over the map. Sometimes we're all going in different directions and sometimes they are quiet days that seem to exist just to regain our energy and have some mellow time before the start of another week.

A little while ago I spent way too much time thinking, talking and writing about photography but not enough time doing it.  It made me cranky and out of sorts. I figured a good Sunday walk would help take out the kinks.

In my mind I was looking for a sunny day so I could go out and shoot all kinds of contrasty stuff. The kind of images that make for good fodder in articles about sharpness and saturation.  But on this particular Sunday the sky was overcast and every once in a while there were little splashes of warm rain that left pockets of humidity in random spots around downtown.

I decide to go for a walk anyway. Just to clear my head. I looked in the equipment drawers and one comfortable, dependable and somewhat mystical camera called out to me and insinuated that I've have more fun if she went along.  It was my Olympus EP2.  The same one that went with me to West Texas and made such wonderful square images of Marfa and Marathon. The one with the paint wearing off.  My mood lightened. I put the ultra-shiny (disco finish) Olympus 45mm 1.8 on, shoved an extra battery in my pocket and drove close to downtown.

My intention to come away with fun or striking photographs kept blocking my seeing. The more I wanted to see the less I saw. When you are looking for a supermodel in a bikini dancing with reckless abandon in the middle of Congress Ave. you overlook all the quieter subject matter.  Your intention to find sparkle drowns out your ability to see something else.

I stopped and sat on a bench for five or ten minutes.  I closed my eyes and told myself that all I expected to get out of the afternoon was a good, brisk walk. (And maybe a cookie at the end, at Whole Foods...). I tried to take my photographer ego out of the mix. I reminded myself that, in the end, I was the only audience and it didn't matter what I saw or how I saw it.

For a couple of minutes I just concentrated on my breath. On the in breath and then on the out breath. Once or twice my mind tried to trick me into action. I let the thought that I was surely missing some unique visual opportunity interrupt my concentration on just breathing. But when I examined those thoughts and let them pass I went back to just concentrating on my breathe.

When I felt calm, relaxed and happy I stood up, tossed the camera over my shoulder and walked on toward Congress Ave.  Now I wasn't looking for anything special.  And now little details would peek out at me and I'd stop and photograph them.

As I finished my route through downtown, about a block from the end, I looked over the bridge that spans tiny, trickly Shoal Creek and saw the trees and the leaves. After last Summer's drought and the ample rain of the Spring they looked fresh and alive.  The rocks, the leaves, the trees and the little touches of color and texture.  That's what my walk wanted to be.  I just needed to get out of the way...

A First Look at The Nikon D3200. Kirk Tuck tangles with cheap ultra-megapixels...

First Studio Portrait with the D3200.

The Nikon D3200 is a very interesting camera.  The sensor inside is currently the highest resolution sensor in the entire APS-C menagerie (with the Sony a77 and a65 sensors just a gnat's whisker lower...) and yet it is one of the least expensive DSLR cameras on the market.  You can buy one with a decent (but not great) 18-55mm VR lens for just under $700. I handled one at Precision Camera earlier in the week and ultimately went back and bought one.  Why? It seemed like a good replacement for a nest of point and shoots I'd just cleared out of the studio.  I sent a bevy of old Canon G models and Nikon Canon-Wannabe_Point&Shoot cameras off to a host of new owners and the only pointy and shooty type camera I had left was my old Sony R1, which for nostalgic reasons I seem unable to sell...

The body of the D3200 is made of non-metallic materials but it seems well built.  It's not much bigger from side to side than my Olympus EP-3 and not much heavier (without lenses attached to either camera). It's slightly taller if you don't count the VF-2 finder that has to be on the EP3.  But it is resolutely of the jelly bean design style of cameras.  All the corners are rounded and there's a decent grip for the right hand.

The menus take about five minutes to master but I miss being able to change menu settings as quickly as you can with most of the major settings on an Olympus Super Control Panel menu.  On the Olympus cameras you can see all the major settings on the rear screen and use the dials to quickly change things like ISO, frame rate and color balance.  On the Nikon you can bring up a panel that quickly shows you what is set but you'll have to jump back in to the main menu to make a lot of the changes.  

Edit 6/22:  Photographer finally reads manual...  I missed it.  The Nikon does have the equivalent of a SCP on the back panel.  The thing I was missing is this:  You push the "i" button once to access the information panel.  You press the "i" button again to be able to navigate through the menu items represented.  You can change:  The file quality (raw/jpeg), the WB, the ISO, the frame rate (S or C), the focusing mode, the autofocus points, the metering pattern, the flash mode, the exposure compensation and the flash compensation.  Additionally, some of these controls can be access directly through buttons.  The FN button on the front of the camera directly accesses ISO, for example.  Thank you to my Nikon readers for pointing out my inaccuracy here.  

The eye level finder is a disappointment after having used the EVF's on the Sony's and the Olympus and Panasonic cameras.  It's right back to the tunnel vision condition that writers have bemoaned since the dawn of cropped frame cameras.  Since the EVF can be made any size, independent of constraints of the direct optical systems their finders, whatever other issues they may have they are much bigger and easier to work with.

Likewise, once you've enjoyed the pleasures of a rear LCD that can be extensively repositioned it's hard to go back to a fixed one.  

And the three paragraphs above are pretty much my list of faults for the D3200.  Now, with that out of the way,  let's move on to the pluses...

The biggest plus, and one measure that will tell you how long I've been shooting digital, is the 24 megapixel sensor.  When I bought my first digital camera in the mid 1990's you had the choice, really, of paying $16,000 for a Kodak DCS 460 or 660 (depending on where in the 1990's you entered the race...) or a 1.5 megapixel Fuji Camera with no LCD and a dinky compact camera squinty finder for around $3,000.  Your choice.  The idea that we'd be snapping up 24 megapixel cameras for about $600 (discounting the lens) seemed, at the time, like science fiction.

I think this is the same sensor that Sony is using in it's two top of the line APS-C cameras, the a77 and the a65.  When I push the camera to higher ISO's or when I underexpose and then correct a stop and a half or two I can see very familiar noise patterns, albeit the Nikon seems to have one half to one stop noise advantage over the Sony's.  The sensor's triple strengths are:  Very wide dynamic range. Incredible resolution and very nice color.  Even in its cheap, Nikon implementation the sensor does really nice colors.  I find the jpeg files a little flat but if you go into the menu and boost the contrast a bit they snap up nicely.

Edit: 6/22:  According to several sources the chip is NOT a Sony product but it a Nikon designed chip.  Apparently Nikon has supplied their own chips for most of the current higher end cameras, with the exception of the D7000, which is definitely a Sony 16 megapixel chip.  Conjecture almost always comes back to bite one on the butt.


The sensor is not a high speed savant. It's excellent to 800 ISO. Very good at 1600. Reasonable at 3200 ISO and really starting to groan and spit out grainy, monochromatic noise at anything higher.  Quantum Physics show its hand.  On the other hand 100 and 200 ISO are pretty near perfect.

I know that I like the camera for its sensor but I'm a bit confused as to why Nikon chose to put this big sensor into a camera that is so obviously aimed at beginners and rank hobbyists.  It may be marketing or Sony may have made this generation of sensors available at a price point that was actually lower than the previous generation of 16 megapixel sensors.  That and the inclusion of the new Xspeed 3 processor means you basically have  state of the art pipeline in this camera.

If you happen to be a rank amateur you'll likely find the menu and GUI un-threatening.  There are lots of consumer touches like a guide menu and a dial with lots of pictograms to walk you through the process of taking photographs.  I've set my camera as I set most of my cameras.  Either "A" mode or "M" mode. Raw. Selected white balance. Center focus sensor.  Single frame. S-af. ISO 100 for daylight.  ISO 400 for most other stuff.  What did you expect from someone who also shoots film in a Hasselblad?  That I'd let the camera choose the focusing point? That I'd want the camera to choose the ISO?  Get real.  In the crazy world of today your camera is one of the few things that you can have complete control over so why would you abdicate that?

Essentially, I'm suggesting that if you want to stay out of the cotton candy menu you can set the camera just about the way you would have set your favorite Leica or other film camera and make all the tiny adjustments when you process your files in raw.



I took my camera with me to swim practice today but of course I left it in my car.  After practice I headed to Barton Springs (above).  Ben's high school cross country team starts and ends at the pool for their two hour morning practice. I headed there to pick him up.  When I got there the sky was beautiful and the pool nearly empty.  I was ten minutes early so I decided to take the new camera out for a spin.  Is it any wonder that Austinites love the giant spring fed pool?  68 degree water flowing through all Summer long.  All year long...

The D3200 handled the wide dynamic range of the landscape well. One note:  while the DR is wonderfully wide the camera is contraindicated for HDR denizens.  Those dwellers in the aesthetic basement of photography will be extremely disappointed to find NO auto bracketing available in this camera.  Either Nikon was just being cheap and holding out features to drive consumers to more expensive models or they share the effete sense of disregard that more evolved photographers have for the disco ball aesthetic of technicolor crap.  Just saying that if you love to do HDR you might want to skip this pup....

The D3200 does not have top mounted window to show information.  You'll have to get it all from the back panel.  The camera is also missing a dial.  There's only one control dial for both the shutter speeds and the apertures but if you are in manual mode you'll have to push the +/- button while turning the one dial to change apertures.  Not very pro.  And the 4 frames per second with a 7 frame raw buffer probably won't impress anyone who's used any number of pro and prosumer cameras on the market.  My response to this is:  You should see the full res files at 6000 pixels wide.  You should see the dynamic range and, did I mention that the camera sells for $700 with a lens?

You probably won't dump your Nikon D4 and take this to a professional sport shooting job but then again, if you put the right lens on the front and time your shots carefully (remember skillful reflexes as opposed to brute force???) you certainly will get shots of the same (or better) image quality.   Put this camera on a tripod, use a remote release and focus carefully, via live view, and this camera will do landscapes and urban scenes and studio work as well or better than anything short of a D800.  And haven't we always been saying that it's the image quality that really matters?

I met this young woman at the end of the Barton Springs Pool. She was looking at the rising sun and getting ready to plunge into the crisp waters for her every morning swim.  She asked if I wanted to take her photograph.  I did.  I stuck the camera on 5.6 and snapped away. I guess I was looking like a pool tourist.

While the lens isn't the greatest piece of glass I've ever stuck in front of a camera it's very usable and when you do it right (middle apertures, VR on, good holding technique) you are rewarded with detail-rich files that will blow up and up and up.  This is a camera that will go either way.  You can shoot 6 megapixel jpeg files and share them pronto.  There's even an attachment (extra) that will send your images to your android device/phone.  So sad though since most advanced civilizations use iPhones....

On the other hand you can use the camera like a mini-view camera, put it on a tripod, shoot at 100 ISO in raw and exactingly process the files in Lightroom 4.x and you'll get stuff that looks amazing.  No more excuses for bad work just because you don't have the budget for a $3K or $4K camera body.  This is another step in the ongoing democratization of photography. 

One of the feature sets that compelled me to go and buy the set, and an extra battery or two, is the video set up.  Remember when the Canon 5Dmk2 came out and everyone salivated about being able to do video with their DSLR?  That was only three years ago, right?  But the camera wasn't really all it could have been at the time.  It needed a couple of firmware fixes to get the goodies it needed.  In the meantime there were all kinds of workarounds and hacks.  Need manual audio level controls?  Then how about adding a digital sound recorder and getting a copy of Pluraleyes?

Don't want second sound?  How about a BeachTek JuiceLink mixer box to trick the AGC circuit in the camera into staying put?  Too many wires?  Wait for the hack.

Well, here we are with a camera at one fifth the price that does:  Full manual exposure control video. Fully manual audio gain control with meters.  1080i at 24 and 30fps.  20 full minutes of recording. A stereo microphone jack in the standard size...(hello Panasonic! What's with the 2mm plug?)  So how does it look, file-wise?  Pretty damn good.  Finally, a camera with manual controls and a really good file that I can afford to hand to a teenage video producer without cringing.  They tend to be tough torture testers of gear.

Pop a Rode stereo microphone in the standard hotshoe (Hello Sony !!!!!) and you're ready to go out on your ENG quest.  Beats the crap out of my Canon 7D that couldn't do manual audio....

Will it focus as fast as the PD focusing on one of my Sony's for video? No.  Do the video files look as good? Yes.

My overall impression? It reminds me of how much I love working with good EVF's.  Nikon will have a dramatically good entry the minute they take all these features and tack on a great EVF instead of just a "good" OVF.  The camera is small, light, quick to operate and gives you incredible files.  It's $600 cheaper than an Olympus OM-D with lens.  It's $1300 cheaper than a Sony a77 with lens.  And if you use good glass with the camera it will run with the big dogs and you'll never be able to see a real difference unless it's the extra 8 million pixels you get when weighed against the Oly, or the extra half stop or more of low light performance when compared to the Sony.

Am I going to sell off everything I own and buy nothing but Nikons?  Again?  Nope.  But it sure as hell makes a great point and shoot camera.  I'd take it over a Canon G1x any day... And keep an extra $100 in my pocket.  

The best way to shoot this camera is to shoot in raw (which is a compressed format of raw) and output the files in Lightroom.  I find the AWB to be problematic with most cameras in most scenes with big areas of color so I prefer to set the WB to settings that match the conditions.  It's hardly difficult.

I've been carrying it around with the kit lens on the front and looking for subject matter that works within an old fashioned equivalent of 27.5mm to 82mm.  I have three different normal Nikon lenses that will work on the front of the camera.  My old 50mm D 1.8 will work in all exposure modes but will require me to manually focus.  My ancient 50mm 1.4 and my Micro Nikkor 55 f3.5 will both need to be manually focused and manually set for exposure. I still need to check and make sure they'll mount.

If I had to put together the D3200 camera and just one lens I'd probably choose the Nikon 35mm 1.8 DX lens.  That would get me a nice, normal view on the cropped frame camera and most of the tests I've read concur that the lens is sharp, especially in the center, fast to focus and focuses down to about one foot.

Any one of the new AFS 50mm lenses would also work well.  

I like the battery charger. It doesn't have a cord (Hello Olympus !!!!) it just plugs right into a wall socket.  The charge light blinks while charging (90 minutes to a full charge) and then goes solid. I'm still on my first hundred exposures so I haven't had a chance to give the battery a good test but  I'll get back to you on that.

Who should get this camera and lens?  Your friend who is just getting into photography.  Your son or daughter going off to school who's ready to leave the limitations of their cellphone camera behind. People who are both methodical workers and also in need of great image quality.  Someone who wants to start a photo and film company with no discernable budget. And people who want a great, light weight, walk-around camera with good battery life and access to an ocean of lenses.  

And who should take a pass?  Anyone with a bag full of Canon or Sony glass.  Anyone who's been bitten by the EVF bug. And, anyone who thinks you have to spend big to be taken seriously or to produce serious work.  Seriously? A great, 24 megapixel sensor, good performance and great files for next to nothing.  Moore's law comes to photography again.  What will they do next year?

48 megapixels on a full frame for $499?  Sign me up.

The camera shoots nice raw files and it saves them to SDHC cards. I've been using the 16 GB Transcend class 10 cards but I'm about to upgrade to the 32 GB ones.  Ben and I are shooting the first of what I hope will be dozens of video projects next week and I'd like to have memory to spare.....I know a lot of people groused about the changeover to SD cards but I like them.  Small and light and cheap.  After using them exclusively for six months I find CF cards a bit clunky.  Kinda like floppy drives...