Chapter 2: Nikon D5200 Essentials

Once you familiarize yourself with the basic layout of the Nikon D5200’s various controls, you can explore what all of these buttons, switches, and dials do. The settings you will change most frequently include the exposure, drive, metering modes, and ISO sensitivity. These settings are very important to learn because a lot of them deal with basic photographic theories. You need to learn when to use them and why, so you can capture your images effectively and creatively.

The essentials are the most important parts of the camera system. There are a lot of different modes, menus, and settings to get acquainted with, and that’s where I go in this chapter. There’s also quite a bit of information packed in here, so I suggest that you grab your camera, sit down, and read this chapter thoroughly.

Exposure Modes

The exposure mode dictates how the aperture and shutter speed are selected. The four main exposure modes are Programmed auto (), Aperture-priority auto (), Shutter-priority auto (), and Manual (). These are all you need to achieve the correct exposure, but for simplicity and ease of use, Nikon also offers scene modes.

When you use scene modes, the camera chooses the correct settings for different situations. Modes designate everything from autofocus and Picture Controls, to flash and ISO settings (although you are able to adjust some of these). To switch among the exposure modes, simply rotate the Mode dial on top of the camera.

Automatic modes

The D5200 has two fully automatic, or Auto, modes that do all the work for you. These are simple grab-and-go camera settings to use when you’re in a hurry or you just don’t want to be bothered with changing the settings. The Auto modes control everything from shutter speed and aperture to ISO sensitivity and white balance.

TIP  To override the Auto ISO setting (), you can change ISO sensitivity in the Info settings. The override remains in effect unless you change the camera to the Programmed auto (), Shutter-priority auto (), Aperture-priority auto (), or Manual () mode, and then return to one of the scene modes. When you change back to a scene mode from any of the modes mentioned above, the Auto ISO function () reactivates.

In Auto mode (), the camera takes complete control over the exposure. The camera’s meter reads the light, the color, and the brightness of the scene and runs the information through a sophisticated algorithm. The camera uses this information to determine what type of scene you are photographing and chooses the settings that it deems appropriate for the scene.

If there isn’t enough light to make a proper exposure, the camera’s built-in flash pops up when you half-press the shutter-release button for focus. The flash fires when the shutter is released, resulting in a properly exposed image. This mode is ideal for taking snapshots because you can concentrate on capturing the image and let the camera determine the proper settings.

The Auto Flash off mode () functions in the same way as Auto mode (), except that it disables the flash, even in low-light situations. In instances where the lighting is poor, the camera’s AF-assist illuminator provides sufficient light to achieve focus. The camera uses the focus area of the closest subject to focus on.

This setting is preferable when you want to use natural or ambient light for your subject or in situations where you aren’t allowed to use flash, such as in museums, or at events where the flash may cause a distraction, such as weddings.

Programmed auto mode

Programmed auto () is an automatic mode that’s best for shooting snapshots and scenes when you don’t necessarily want or need complete control over the settings. This mode is much more useful than the fully auto mode, as you will see.

When the camera is in Programmed auto (), it decides the shutter speed and aperture settings for you based on a set of algorithms. The camera does its best to select a shutter speed that allows you to shoot handheld without suffering from camera shake while also adjusting your aperture so that you get sufficient depth of field to ensure everything is in focus. When the camera body is coupled with a lens that has a CPU built in (all Nikon AF lenses have a CPU), the camera automatically knows what focal length and aperture range the lens has. The camera then uses this lens information to decide what the optimal settings should be.

This exposure mode chooses the widest aperture possible until it reaches the optimal shutter speed for the specific lens. Then the camera chooses a smaller f-stop and increases the shutter speed as light levels increase. For example, when you use the 18-55mm kit lens at the 24mm setting, the camera keeps the aperture wide open until the shutter speed reaches about 1/30 second (just above minimum shutter speed to avoid camera shake). Upon reaching 1/30 second, the camera adjusts the aperture to increase depth of field.

NOTE  When you use the Auto ISO setting () in Programmed auto mode (), the camera tries to hold the shutter speed at the number specified in the Auto ISO () sensitivity settings.

The exposure settings selected by the camera appear in both the Information Display and the viewfinder display. Although the camera chooses what it thinks are the optimal settings, it does not know your specific needs. For example, you may want a wider or smaller aperture for selective focus. Fortunately, you aren’t stuck with the camera’s exposure choice. You can engage what is known as Flexible Program (). Flexible Program allows you to deviate from the camera’s selected aperture and shutter speed in Programmed auto mode (). You can automatically engage this feature by simply rotating the Command dial until you get the desired shutter speed or aperture. This allows you to choose a wider aperture/faster shutter speed when you rotate the dial to the right, or a smaller aperture/slower shutter speed when you rotate the dial to the left. With Flexible Program, you can maintain the metered exposure while still having some control over the shutter speed and aperture settings.

For example, say that you’re shooting a portrait and you want a wider aperture to throw the background out of focus, and the camera has set the shutter speed at 1/60 second with an aperture of f/8.0. If you rotate the Command dial to the right, you can open the aperture to f/4.0, which increases the shutter speed to 1/250 second. This is an equivalent exposure, meaning that you get the same exposure but the settings are different.

When Flexible Program is on, an asterisk appears next to the Programmed auto mode icon on the LCD monitor, like this: . Rotate the Command dial until the asterisk disappears to return to the default Programmed auto settings (), or turn the camera off and back on.

NOTE  Programmed auto mode () is not available when you use non-CPU lenses.

Aperture-priority auto mode

Aperture-priority auto () is a semiautomatic mode. In this mode, you decide which aperture to use by rotating the Command dial, and the camera sets the shutter speed for the best exposure based on your selection. A situation in which you may want to select the aperture is when shooting a portrait and you want a large aperture (small f-stop number) to blur out the background by minimizing depth of field. You can also use Aperture-priority auto () when shooting a landscape and you want a small aperture (large f-stop number) to ensure the entire scene is in focus by increasing depth of field.

Choosing the aperture to control depth of field is one of the most important aspects of photography. It allows you to control selectively which areas of your image, from foreground to background, are in sharp focus and which are blurred. Controlling depth of field enables you to draw the viewer’s eye to a specific part of the image, which can make your images more dynamic and interesting to the viewer.

Shutter-priority auto mode

Shutter-priority auto () is another semiautomatic mode. In this mode, you choose the shutter speed by rotating the Command dial and the camera automatically sets the aperture. You can choose shutter speeds from as long as 30 seconds to as short as 1/4000 second.

You can also use Shutter-priority auto mode () to set a slow shutter speed. A slow shutter speed allows you to introduce many creative effects into your photography. Selecting a slow shutter speed of about 2 to 4 seconds allows you to create a motion blur from any subjects that may be moving in the frame. Shooting flowing water with a slow shutter speed gives it a smooth, glassy appearance, while shooting a scene with moving automobiles creates cool light trails from the head- and taillights. Of course, to be able to achieve a slow shutter speed, the lower the light the better; also keep in mind that it’s best to use a tripod when attempting long exposures.

You generally use Shutter-priority auto () to capture moving subjects or action scenes. Choosing a fast shutter speed allows you to freeze the action of a fast moving subject, such as when shooting sports. Running athletes move extremely fast, so you need to use a shutter speed of about 1/250 second or faster to freeze the motion and prevent blur. This allows you to capture the details of the subject with sharp definition.

Even when you shoot quick action, you may sometimes want to use a slower shutter speed. If you use a slow shutter speed while panning on a moving subject, it blurs the background while keeping the subject in relatively sharp focus. A blurred background is an extremely effective way of portraying motion in a still photograph.

Manual mode

When in Manual mode (), you set both the aperture and shutter speed. You can use the electronic analog exposure display on the D5200 to determine the exposure needed, or if you’re using a non-CPU lens you can estimate the exposure or use a handheld light meter. There are smartphone apps that allow you to use your iPhone or similar device as a light meter.

The following are a few situations in which you might want to set the exposure manually:

• When you want complete control over exposure. Usually the camera decides the optimal exposure based on technical algorithms and an internal database of image information. However, what the camera decides is optimal may not necessarily be optimal in your mind. You may want to underexpose the image to make it dark and foreboding, or you may want to overexpose it a bit to make the colors pop (making them bright and contrasty). When you set your camera to Manual mode (), you can choose the settings and place your image in whatever tonal range you want without having to fool with exposure compensation settings.

• When you use studio flash. If you use studio strobes or external, undedicated flash units, you don’t need the camera’s metering system. When using external strobes, you need a flash meter or manual calculation to determine the proper exposure. In Manual (), you can set the aperture and shutter speed to the proper exposure quickly; just be sure not to set the shutter speed above the rated sync speed of 1/200 second.

• When you use non-CPU lenses. The D5200 only functions in Manual mode () with these older lenses.

Scene Modes

If you’re accustomed to using the fully Automatic modes — Auto () and Auto Flash off () — you may have noticed, especially when shooting in difficult lighting situations or other special circumstances, that these modes may not give you the results you desire. The D5200 Scene modes take into account different lighting situations and desired outcomes and modify the way the camera meters the light. Scene modes also control the autofocus settings, the flash settings, and the aperture, shutter speed, Picture Controls, and ISO sensitivity settings.

NOTE  When you use scene modes, you cannot adjust the White balance (), Picture Controls, or Active D-Lighting () settings. Each scene mode has default settings for ISO, AF-area, autofocus, and flash modes, but you can change them. These settings return to the default when you turn the camera off or turn the Mode dial to another setting.

The camera may also determine whether there is enough light to make an exposure, and then activate the built-in flash if the light is insufficient. Conversely, in some scene modes, such as Landscape (), the camera also makes sure that the flash is not used, even in low-light situations.

The D5200 has 16 scene modes to cover almost every possible shooting scenario, which allows you to focus on capturing the image without worrying about the camera settings.

NOTE  The D5200’s High Dynamic Range (HDR) and multiple exposure features are disabled when you use Scene modes.

Rotating the mode dial to the appropriate icon directly accesses the first five scene modes on this list. These are: Portrait (), Landscape (), Child (), Sports (), and Close-up (). To access the other 11 scene modes (aptly called Other Scenes in Nikon literature), rotate the Mode dial to Scene mode (), and then rotate the Command dial to choose a setting from the menu option on the LCD screen.

You can choose from the following Scene modes on your D5200:

• Portrait mode (). This mode is for taking pictures of people. The camera automatically adjusts the colors to provide natural-looking skin tones. It focuses on the closest subject and, if possible, attempts to use a wide aperture to reduce the depth of field. This draws attention to the subject of the portrait, leaving distracting background details out of focus. The built-in flash and AF-assist illuminator automatically activate in low-light situations. Picture Control is set to Portrait ().

• Landscape mode (). When taking photos of far-off vistas, you want to use this mode. The camera automatically adjusts the colors to apply brighter greens and blues to skies and foliage. The camera also automatically focuses on the closest subject and uses a smaller aperture to provide a greater depth of field to ensure focus throughout the entire image. In this mode, the camera automatically disables the AF-assist illuminator and the flash. Picture Control is set to Landscape ().

• Child mode (). This mode is ideal for taking portraits or candid shots of children. The camera automatically adjusts the colors to provide more saturation while still providing a natural skin tone. It automatically focuses on the closest subject and uses a fairly small aperture to capture background details. The built-in flash is automatically activated when the light is low. Picture Control is set to Standard ().

• Sports mode (). A fast shutter speed freezes the action of moving subjects when the camera is set to this mode. The camera focuses continuously as long as the shutter-release button is half-pressed. The camera also uses Predictive Focus Tracking based on information from all the focus areas in case the main subject moves from the selected focus point. The camera disables the built-in flash and AF-assist illuminator when you select this mode. Picture Control is set to Standard ().

TIP  To shoot a quick sequence shot, set the Release Mode () to one of the two Continuous shooting modes: Continuous high-speed () or Continuous low-speed ().

• Close-up mode (). Use this mode for close-up or macro shots. It uses a fairly wide aperture to provide a soft background while giving the main subject a sharp focus. In this mode, the camera focuses on the subject in the center of the frame, although you can use the multi-selector to choose one of the other focus points to create an off-center composition. When light is low, the camera automatically activates the built-in flash. Be sure to remove your lens hood when using the flash on close-up subjects because the lens hood can cast a shadow on your subject by blocking the light from the flash. Picture Control is set to Standard ().

CROSS REF  It’s best to use the Close-up Scene mode () in conjunction with a macro lens or close-up filter. See Chapter 4 for more details on macro lenses and Chapter 8 for general macro shooting advice.

2.5 This shot was taken using the Close-up Scene mode. Exposure: ISO 100, f/4.5, 1/1250 second using a Sigma 35mm f/1.4 DG HSM.

• Night Portrait mode (). This mode is ideal for taking portraits in low-light situations. The camera automatically activates the flash and uses a longer shutter speed (Slow Sync) to capture the ambient light from the background. This balances the ambient light and the light from the flash, giving you a more natural effect. You may want to use a tripod when you use this mode to prevent blurring from camera shake that can occur during longer exposure times. Picture Control is set to Portrait ().

• Night Landscape mode (). This mode disables the flash, sets a small aperture, and uses a long shutter speed to capture ambient light. The AF-assist illuminator is automatically turned off. You definitely need a tripod when using this mode. Picture Control is set to Standard ().

• Party/Indoor mode (). When you use this mode, it automatically activates the built-in flash and uses the Red-Eye Reduction feature. Use this mode for capturing snapshots of people while retaining some of the ambient light for a more natural look. Picture Control is set to Standard ().

• Beach/Snow mode (). Sand and snow present a tricky situation for your camera’s light meter, and often cause the camera to underexpose the scene, making the sand or snow appear a dingy, dull gray. Beach/Snow mode () adds some exposure compensation to ensure the sand or snow appears a natural, gleaming white. This mode sets Picture Control to Landscape () and disables the flash and AF-assist illuminator.

• Sunset mode (). To capture the intense colors that occur during sunset or sunrise, use this mode. The camera boosts color saturation to enhance this effect. The flash and AF-assist illuminator are disabled, and the camera focuses at the center of the frame. A tripod is recommended when using this mode. Picture Control is set to Landscape ().

• Dusk/Dawn mode (). This mode is similar to Sunset mode (), but it is intended for shooting after the sun sets or before it rises. This mode boosts the color saturation to accent the colors that are less visible when the sun has already set (or has yet to rise) and there is little light available. In this mode, the flash and AF-assist illuminator are disabled, and a tripod is strongly recommended. Picture Control is set to Landscape ().

2.7 This image was taken using the Dusk/Dawn Scene mode. Exposure: ISO 400, f/10, 1/160 second using a Nikon 10-24mm f/3.5-4.5G at 10mm.

• Pet Portrait mode (). This is, obviously, the ideal mode for taking photos of pets. This mode uses a faster shutter speed to freeze any movement a frisky pet might make. The flash is set to automatically activate in low light, but the AF-assist illuminator is disabled. Picture Control is set to Standard ().

• Candlelight mode (). Achieving natural colors when shooting in candlelight can be difficult, especially with standard Auto white balance settings. This mode can help you out. The camera also uses wide aperture settings. The flash is disabled and Picture Control is set to Standard ().

• Blossom mode (). This is the ideal mode for shooting landscapes of large fields with colorful flowers. This mode boosts the colors for a more vibrant look. The built-in flash is disabled. Picture Control is set to Landscape ().

• Autumn Colors mode (). When you select this mode, the camera automatically boosts the saturation of reds, oranges, and yellows as those are the most prevalent colors in fall foliage. The built-in flash is disabled. Picture Control is set to Vivid ().

• Food mode (). This mode is for photographing edible items. It boosts colors and the camera selects a fairly wide aperture. When the lighting is low, the built-in flash is automatically activated. Picture Control is set to Standard ().

Special Effects Modes

Special Effects modes are found only on the D5000 series of cameras. Some of the options are similar to Scene modes, but there are key differences. The Special Effects are fully automatic, and you cannot make changes to any of the settings. Most of the options add special effects similar to what you may add using image-editing software on your computer.

These effects are best utilized when shooting in Live View mode () so that you are able to preview the effect (you won’t be able to see the effect in the optical viewfinder), but the processing involved taxes the camera’s processor somewhat and the video refresh rate is reduced significantly, making the Live View images appear jerky.

In addition, each of the effects has different caveats; some will only autofocus in Live View, some won’t autofocus at all. Some of the effects must first be set up using Live View before you can use them when shooting through the viewfinder. These will all be covered in each specific section.

To use these Effects settings, rotate the mode dial to Effects (), and then spin the command dial to select an effect. Press the OK button () to display any optional settings for an effect.

NOTE  When using most of the Special Effects modes, the camera automatically switches to JPEG. RAW images are only recorded when shooting in the High () or Low Key (), and Silhouette () modes.

Night Vision mode

The Night Vision mode () is intended for use only in very low light. It’s a monochromatic mode that allows the camera to expand the ISO sensitivity up to the equivalent of 102400. This mode doesn’t produce optimal image quality, but the effect can be kind of interesting. Keep in mind that there is no High ISO Noise Reduction and the images will have an extreme amount of noise and banding. Autofocus is only available in Live View mode (). I recommend that you use this option sparingly, if at all.

Color Sketch mode

The Color Sketch mode () gives an image a cartoon-like appearance. This effect must first be set up in Live View mode () before you can use it to shoot stills through the viewfinder. After you select the Color Sketch mode () from the Special Effects menu (), flip the Live View switch to Live View mode (), and then press the OK button () to adjust the settings. You can then select one of the following two choices by pressing the multi-selector up () or down ():

• Vividness. Press the multi-selector right () to make the colors super saturated. Press the multi-selector left () to mute the colors for an almost black-and-white effect.

• Outlines. This option controls how thick the lines appear. Press the multi-selector left () to make them appear as if they were drawn by a very fine pen; press the multi-selector right () to them appear as if they were drawn by a thick, black marker. You may notice that as the outline thickens, the colors become more saturated.

After you select your settings, press the OK button () to set them. You can then continue to shoot in Live View mode (), or you can exit and shoot using the viewfinder while retaining the Color Sketch settings ().

When you record videos in Color Sketch mode (), the frame rate slows down, and the video is similar to a series of stills linked together and played in sequence.

CAUTION  Autofocus is unavailable when you record video in any of the Effects modes ().

Miniature Effect mode

The Miniature Effect mode () applies what is commonly (and erroneously) called the Tilt/Shift effect. This effect applies a simulated shallow depth of field to an image by blurring selected parts of it, and keeping others in sharp focus. This tricks the eye and brain, and causes the subject in the image to appear much smaller than it actually is. This effect works best on images taken from an overhead perspective.

2.11 An example of the Miniature Effect mode. Exposure: ISO 100, f/5.6, 1/4000 with Sigma 17-70mm f/2.8-4 DC HSM OS at 38mm.

You must set this effect in Live View mode () before you can use it. Select Miniature Effect () from the Effects (), and then flip the Live View mode switch (). Use the multi-selector to find a point on which to focus, and then press the shutter-release button halfway to focus.

TIP  To confirm focus, press the Zoom in button (). To return to Miniature Effect mode (), press the Thumbnail/Zoom out button ().

Once you select your focus point and focus, press the OK button () to display the effect options. Press the multi-selector up () or down () to adjust the width of the area you want to remain in focus. Press the multi-selector left () or right () to choose whether the in-focus area is horizontal or vertical. This effect works best when used horizontally for most applications. Press the OK button () to save your settings. You can then continue to shoot in Live View mode (), or you can exit and use the viewfinder to compose your shots. Just remember that you cannot preview the effect in the viewfinder.

One very odd feature about this effect is that when you record video the camera compresses the video and plays it back at high speed. According to the manual, 30 to 45 minutes of actual recording yields a movie that is only about 3 minutes in length when played back. Also, be aware that autofocus and sound recording are disabled when you use the Miniature Effect. You can also apply the Miniature Effect mode () to existing still images in the Retouch menu ().

Selective Color mode

The Selective Color mode () allows you to choose up to three colors to keep in the image. The camera then automatically turns the remaining colors to black and white. It can give your images an interesting effect that was once only available by using image-editing software such as Photoshop. Now, you can do it right in-camera and preview the effect in Live View mode (). Once again, this option must be set in Live View mode () before you can use it while shooting through the viewfinder.

After you choose the Selective Color mode () from the Effects menu (), flip the switch to enter Live View mode (). Press OK () to display the options. The first thing you want to do is to decide which color to select. It’s best to choose a bright color, such as deep reds, blues, greens, or yellows. The camera’s sensor can struggle when trying to detect dull colors, especially grays, tans, and skin tones.

You will notice a white square cursor in the center of the monitor image (similar to the Live View focus point, but smaller and white). Use the multi-selector to move the cursor over the top of the color you want to select. Once the cursor is over the desired color, press the multi-selector up () to select the color.

TIP  If you want to be more meticulous about the selected color, use the Zoom in button () to get a more detailed look. Press the Thumbnail/Zoom out button () to return to full-screen view.

After you select the color, look at the top right of the screen and you see three boxes, one of which contains the selected color. You will see numbers directly to the right of the box. You can choose from 1 to 7; the default is 3. You can increase the color range (4 to 7) to include similar colors, or you can decrease the range (1 to 2) so that the selected color is more specific.

As I mentioned before, you can select up to three colors. Use the Command dial to select one of the other boxes and repeat the process if you want. You do not have to select three colors; you can choose only one if you prefer. To deselect a color, simply use the Command dial to select a box, and then press the Delete button (). To delete all selected colors, press and hold the Delete button ().

Silhouette mode

In Silhouette mode (), the camera sets the exposure for the bright part of the scene to silhouette the dark subject against a bright background. This option looks best when shooting during dusk or dawn. Flash and the AF-assist illuminator are disabled.

High Key

Use the High Key setting () when shooting a light subject against a light background. The camera applies some exposure compensation to slightly overexpose and add some brightness to the scene.

Low Key

Use the Low Key setting () when photographing dark subjects on a dark background. This mode also punches up the highlights just a bit to get good definition between the shadows and highlights.

2.13 The Silhouette effect. Exposure: ISO 640, f/2.8, 1/10 second using a Tamron 17-50mm f/2.8 VC at 40mm.

Metering Modes

The D5200 has three metering modes — Matrix (), Center-weighted (), and Spot () — to help you get the best exposure for your image. You can change the modes in the Info display menu. Metering modes determine how the camera’s light sensor collects and processes the information used to determine exposure. Each of these modes is useful for different types of lighting situations.

Matrix metering mode

The default metering system that Nikon cameras use is a proprietary system called 3D Color Matrix metering II, or just Matrix metering for short. Matrix metering mode () reads a wide area of the frame and sets the exposure based on the brightness, contrast, color, and composition. Then the camera runs the data through sophisticated algorithms and determines the proper exposure for the scene. When you use a NIKKOR D- or G-type lens, the camera also considers the focusing distance.

The D5200’s 2016-pixel RGB (Red, Green, Blue) sensor measures the intensity of the light and color of a scene. After the meter takes the measurement, the camera compares it to information from 30,000 images stored in its database. The D5200 determines the exposure settings based on the findings from the comparison.

CROSS REF  For more on lenses and lens specifications, see Chapter 4.

In simple terms, it works like this: You’re photographing a portrait outdoors, and the sensor detects that the light in the center of the frame is much dimmer than at the edges. The camera takes this information, along with the focus distance, and compares it to the images in the database. The database images with similar light and color patterns and subject distance tell the camera that this must be a close-up portrait with flesh tones in the center and sky in the background. From this information, the camera decides to expose primarily for the center of the frame, although the background may be overexposed. The RGB sensor also reads the quantity of the colors and uses that information as well.

The D5200 automatically chooses a Matrix metering system based on the type of Nikon lens that you use. Here are the options:

• 3D Color Matrix metering II. As mentioned earlier, this is the default metering system the camera employs when you attach a G- or D-type lens. Most lenses made since the early to mid-1990s are of these types. The only difference between the G- and D-type lenses is that there is no aperture ring on the G-type lens. All lenses that offer full functionality with the D5200 will use this metering type. When you use Matrix metering mode (), the camera decides the exposure setting based mainly on the brightness and contrast of the overall scene, and the colors of the subject matter, as well as other data. It also considers the distance to the subject, which focus point is used, and the lens focal length to determine which areas of the image are important to get the proper exposure. For example, if you’re using a wide-angle lens with a distant subject and a bright area at the top of the frame, the meter considers this when setting the exposure, so the sky and clouds don’t lose critical detail.

• Color Matrix metering II. This type of metering is used when a Nikon AI-P CPU lens is attached to the camera. Nikon only offers three of these lenses and they are quite rare, the 45mm f/2.8 AI-P being the most common. The Matrix metering recognizes this, and the camera uses only brightness, subject color, and the focus point to determine the right exposure.

Matrix metering mode () is suitable for most subjects, especially when you’re dealing with a particularly tricky or complex lighting situation. Given the large amount of image data in the Matrix metering mode () database, the camera can make a fairly accurate assessment of what type of image you are shooting and adjust the exposure accordingly. For example, for an image with a high amount of contrast and brightness across the top of the frame, the camera tries to expose for the scene so that the highlights retain detail. Paired with Nikon’s Active D-Lighting (), your exposure will have good dynamic range throughout the image.

Center-weighted metering mode

When you switch the camera’s metering mode to Center-weighted (), the meter takes a light reading of the whole scene but bases the exposure settings mostly on the light falling on the center of the scene. The camera determines about 75 percent of the exposure from an 8mm circle in the center of the frame and 25 percent from the area around the center.

Center-weighted metering mode () is a very useful option, especially when you shoot photos with the main subject in the middle of the frame. This metering mode is useful when photographing a dark subject against a bright background, or a light subject against a dark background. It works especially well for portraits, where you want to preserve the background detail while exposing correctly for the subject.

Using Center-weighted metering mode (), you can get consistent results without worrying about the adjustments in exposure settings that sometimes result when using Matrix metering mode ().

Spot metering mode

In Spot metering mode (), the camera does just that: meters only a spot. This spot is only 3mm in diameter and only accounts for 2 percent of the frame. The spot is linked to the active focus point, so you can focus and meter your subject at the same time, instead of metering the subject, pressing the Auto-Exposure Lock button (), and then recomposing the photo. The D5200 has 39 focus points, so it’s like having 39 spot meters to choose from throughout the scene.

Choose the Spot metering mode () when the subject is the only thing in the frame for which you want the camera to expose. You select the spot meter to meter a precise area of light within the scene. This is not necessarily tied to the subject. For example, when you photograph a subject on a completely white or black background, you need not be concerned with preserving detail in the background; therefore, exposing just for the subject works out perfectly. This mode works well for concert photography, when the musician or singer is lit with a bright spotlight. You can capture every detail of the subject and just let the shadow areas go black.

Autofocus

The D5200 has an upgraded autofocus (AF) system from the D5100, which is the same as that of the D7000. The Multi-CAM 4800DX has 39 focus points, nine of which are cross-type sensors, providing the ability to detect contrast for focusing purposes.

In simpler terms, the Multi-CAM 4800DX autofocus reads contrast values from a sensor inside the camera’s viewing system. The D5200 employs two sensor types: cross and horizontal. As you may have guessed, cross-type sensors are shaped like a cross while horizontal sensors appear as horizontal lines. You can think of them like plus and minus signs. Cross-type sensors are able to read the contrast in two directions, horizontally and vertically. Horizontal sensors can only interpret contrast in one direction. (When you position the camera in portrait orientation, the horizontal sensors are positioned vertically.)

Cross-type sensors can evaluate for focus much more accurately than horizontal sensors, but horizontal sensors can do it a bit more quickly (provided that the contrast runs in the right direction). Cross-type sensors require more light to work properly, so horizontal sensors are also included in the array to speed up the autofocus, especially in low-light situations.

Phase detection

The autofocus system on the D5200 uses phase detection, which is determined by a sensor in the camera body. To achieve phase detection, a beam splitter diverts the light coming from the lens into two optical prisms that send the light as two separate images to the AF sensor in the D5200. This creates a type of rangefinder in which the base is the same size as the diameter or aperture of the lens. The larger the length of the base, the easier it is for the rangefinder to determine whether the two images are “in phase” or in focus.

This is why lenses with wider maximum apertures often focus faster than lenses with smaller maximum apertures, especially in low light. This is also why the autofocus usually can’t work with slower lenses coupled with a teleconverter, which reduces the effective aperture of the lens. The base length of the rangefinder images is simply too small to allow the autofocus system to determine the proper focusing distance. The autofocus sensor reads the contrast or phase difference between the two images that are projected onto it. This is the primary way in which the D5200 autofocus system works. This type of focus is also referred to as Secondary Image Registration-Through-the-Lens (SIR-TTL) because the autofocus sensor relies on a secondary image, as opposed to the primary image projected into the viewfinder from the reflex mirror.

Contrast detection

The D5200 only uses contrast detection focus when you use the Live View () and Live View video () modes. This is the same method that smaller compact digital cameras use to focus. Contrast detection focus is slower and uses the image sensor to determine whether the subject is in focus. In a relatively simple operation, the sensor detects the contrast between different subjects in a scene on a pixel level. The camera does this by moving the lens elements until it achieves sufficient contrast between the pixels that lie under the selected focus point. With contrast detection, you can focus on a greater area of the frame, meaning you can set the focus area to anywhere within the scene.

Contrast detection focus is highly accurate. Because you can pinpoint the focus point more accurately, I highly recommend using Live View mode () when using a tripod, whether you are in the field or a studio.

Focus Modes

Focus modes simply control how the camera achieves focus when you press the shutter-release button halfway. You can choose from the following four settings: Auto Servo AF (), Continuous Servo AF (), Single Servo AF (), and Manual focus (). Each of these is useful in different situations, which I discuss in the following sections.

CAUTION  When the lens autofocus switch is set to Manual, you cannot select an autofocus mode.

To change the focus mode you must enter the Info display edit menu. Press the Info edit button () to view the Info display, and then press it again to display the cursor and edit the settings. Use the multi-selector to navigate to the focus mode option on the display, and then press OK (). You can then use the multi-selector left () and right () to scroll through the focus mode options. After you select the focus mode that you desire, press the OK button () to set it.

Auto Servo AF mode

When you use the Auto Servo AF mode (), the D5200 autofocus system determines whether the subject is moving and automatically selects the Continuous Servo AF () or Single Servo AF () mode. The shutter is only released when the camera detects that the scene is in focus. This mode is adequate for shooting snapshots, but I wouldn’t count on it to work perfectly in situations in which focus is critical.

Continuous Servo AF mode

The Continuous Servo AF mode () is the autofocus mode you want to use when shooting sports, or in any other situation in which the subject is moving. When you set the camera to Continuous Servo AF mode (), it continues to focus as long as you press the shutter-release button halfway, or if the AE-L/AF-L button () is set to On () in Custom Setting menu () f2. If the subject moves, the camera activates Predictive Focus Tracking. Predictive Focus allows the camera to track the subject and maintain focus by attempting to predict where the subject will be when the shutter is released. When the camera is in Continuous Servo AF mode (), it fires when you fully depress the shutter-release button, but only if the subject is in focus. This is called Focus Priority, and it allows you to get more images in focus when photographing moving subjects.

Personally, I find that Continuous Servo AF mode () works best when the camera is set to Release Priority. This allows you to fire off frames whether the camera has achieved focus or not. If you’re photographing a quickly moving subject, you may want to start capturing a sequence of images even if the subject isn’t initially in focus. This makes your camera more responsive when shooting action. You can choose between Focus and Release Priority in Custom Setting menu () a1.

Single Servo AF mode

In Single Servo AF mode () — which is not to be confused with the AF-S lens designation — the camera focuses when you press the shutter-release button halfway. When the camera achieves focus, the focus locks, and it remains so until the shutter is released or the shutter-release button is no longer depressed. By default, the camera does not fire unless it achieves Focus Priority. Single Servo AF () is the best mode to use when shooting portraits, landscapes, or other photos in which the subject is relatively static. Using this mode also helps ensure that you have fewer out-of-focus images.

Manual focus mode

When you select the Manual focus mode (), the D5200 disables the autofocus system. To achieve focus, you rotate the focus ring of the lens until the subject appears sharp when you look through the viewfinder. You can use Manual focus mode () when shooting still-life photographs or other stationary subjects with which you want total control of the focus, or when you are using a non-autofocus lens. Keep in mind that the camera shutter releases, regardless of whether the scene is in focus.

When using Manual focus mode (), the D5200 offers a bit of assistance in the form of an electronic rangefinder which can be turned on in Custom Settings menu () a4. When the camera or lens is switched to Manual focus, the light meter becomes the electronic rangefinder. If the indicator shows to the right, the focus is behind the subject; an arrow to the left indicates that the focus is in front of the subject. You still need to choose a focus point so that the camera can determine where the subject is in the frame so that the rangefinder can work properly. You can use Manual focus mode () when shooting close-ups and macros, as well as portraits when you need to focus on a specific area.

Autofocus Area Modes

The D5200 has the following four AF-area modes: Single-point AF (), Dynamic-area AF (), 3-D tracking (), and Auto area AF (). Each mode is useful in different situations, and you can modify them to suit a variety of shooting needs. The AF-area modes are set in the Info Edit display. Note that AF-area modes aren’t available to change when using certain Scene and Effects modes.

As discussed earlier in this chapter, the D5200 employs an impressive 39 autofocus points. These can be used individually in Single-point AF mode (), or they can be set to use in groups of 9, 21, or 39 in Dynamic-area AF mode ().

The D5200 can also employ 3-D tracking mode (), which enables the camera to automatically switch focus points and maintain sharp focus on a moving subject as it crosses the frame. In 3-D tracking mode (), the camera recognizes color and light information, and uses it to track the subject.

Nikon’s Scene Recognition System uses the 2016-pixel RGB sensor to recognize color and lighting patterns in order to determine the type of scene that you are photographing. This enables the autofocus to work faster than in previous Nikon dSLRs, and also helps the D5200 achieve a more accurate exposure and white balance.

Auto area AF mode

Auto area AF mode () is exactly what it sounds like: the camera automatically determines the subject and chooses one or more autofocus points to lock focus. Due to the D5200’s Scene Recognition System, when you use the camera with NIKKOR G-type AF-S lenses, it is able to recognize human subjects. This means that the camera has a better chance of focusing where you want rather than accidentally focusing on the background when shooting a portrait. I tend not to use a fully automatic setting such as this, but I find it works reasonably well when I’m shooting snapshots with a relatively deep depth of field. When you set the camera to Single Servo AF mode (), the active autofocus points light up in the viewfinder for about 1 second when the camera attains focus; when you set it to Continuous Servo AF mode (), you can see the active point tracking the subject as it moves through the frame.

Single-point AF mode

Single-point AF () is the easiest mode to use when you shoot slow-moving or completely still subjects. You can press the multi-selector up (), down (), left (), or right () to choose one of the autofocus points. The camera only focuses on the subject if it is in the selected autofocus area.

By default, Single-point AF mode () allows you to choose from any one of the 39 autofocus area points. Sometimes selecting from this many points can slow you down; this is why the D5200 also allows you to change the number of selectable points to a more widely spaced array of 11 focus points. If you’re upgrading from the D5000 or D5100 you will immediately be familiar with the 11-point pattern. You can choose the number of focus points in Custom Setting menu () a2.

Switching from 39 to 11 points can speed up the shooting process in Single-point AF mode (). Using 11 points allows you to move the focus point to the preferred area in less than half of the button pushes required when using 39 points. You can use this option if pinpointing the exact location of the area that you need to be in focus. This can be utilized when shooting landscapes or team sports.

Dynamic-area AF mode

Dynamic-area AF mode () also allows you to select the autofocus point manually, but unlike Single-point AF mode (), the surrounding unselected points remain active; this way, if the subject happens to move out of the selected focus area, the camera’s highly sophisticated autofocus system can track it throughout the frame. You can set Dynamic-area AF mode () in the Info display edit menu. Press the Info edit button () twice, and then use the multi-selector to navigate to the AF-area mode option (next to the Autofocus mode option). Press the multi-selector left () and right () to scroll through the options. Press the OK button () when the desired setting is displayed.

When you set the focus to Single Servo AF mode (), it operates the same as Single-point AF mode (). To take advantage of Dynamic-area AF (), you must set the camera to Continuous Servo AF mode ().

You can then choose from the following options:

• Dynamic-area AF 9 (). When you set your D5200 to Dynamic-area AF 9 (), you can select any one of the camera’s 39 autofocus points to be the primary one. If your subject moves out of the selected focus area, the autofocus system uses the eight autofocus points immediately surrounding the selected point to achieve focus. Use this setting when you shoot subjects that move predictably. For example, baseball players typically run in a straight line, so you don’t need many points for autofocus coverage as you track along with the subject.

• Dynamic-area AF 21 (). As with the 9-point area autofocus mode, in Dynamic-area AF 21 (), you can select the primary focus point from any one of the 39 points. The camera then uses information from the surrounding 20 points if the subject moves away from the selected focus area. The 21-point area gives you a little more leeway with moving subjects because the active autofocus areas are in a larger pattern. This mode is good for shooting sports with a lot of action, such as soccer or football. Players are a bit more unpredictable, and the larger coverage helps you maintain focus when a player cuts left or right. However, the 21-point coverage is small enough that the camera’s autofocus is less likely to jump to other players.

• Dynamic-area AF 39 (). This option gives you the widest area of active focus points. You select the primary focus point in the same way you do with the 9- and 21-point options. The camera then keeps the surrounding 38 points active in case the subject leaves the selected focus area. This mode is best for situations where a lone subject is against a plain background; for example, it is useful when capturing a bird, or even an airplane, against a plain blue sky or a single person against a simple background.

• 3-D tracking (). In this mode, all 39 autofocus points are active. You select the primary autofocus point, but if the subject moves, the camera uses 3-D tracking to select a new primary autofocus point automatically. With 3-D tracking, the camera uses distance and color information from the area immediately surrounding the focus point to determine what the subject is. If the subject moves, the camera selects a new focus point. This mode works very well for subjects that move unpredictably; however, you need to be sure that the subject and the background aren’t similar in color. When you photograph a subject that has a color similar to the background, the camera may lock focus on the wrong area, so use this mode carefully.

Release Modes

Release modes () control how the shutter release operates. A number of different options are useful in many different shooting situations. To change the release mode (), press the Release mode button (). Use the multi-selector to highlight one of the following options on the LCD screen, and then press the OK button () to set it:

• Single-frame shooting mode (). When you select the Single-frame shooting mode (), the camera takes one picture when you fully depress the shutter-release button. Even if you hold the button down, only one frame is captured. The shutter-release button must be completely unpressed to reset it. You can use this mode when shooting portraits, still-life compositions, products, or any other static or still subjects.

• Continuous low-speed shooting mode (). In this mode, the camera shoots at 3 frames per second (fps) repeatedly while you hold down the shutter-release button. This is a good mode to use when trying to capture subjects that are not moving too quickly.

• Continuous high-speed shooting mode (). When you select this mode, the D5200 shoots up to 5 fps while you press and hold the shutter-release button. This mode is for shooting fast action and sequence shots, or trying to capture a fleeting moment that may never happen again. For best results, you should set the shutter speed to at least 1/200 second and use a fast memory card. Shooting at 1/200 or faster allows you to be sure that you get the full frame rate speed. Once the buffer is full, the frame rate drops, and then resumes after the buffer flushes and the data has been written to the card. Using a faster-rated memory card allows the camera to clear the buffer more quickly.

• Self-timer mode (). The self-timer is a handy option that allows a delay between the pressing of the shutter-release button and the actual release of the shutter. This allows you to quickly jump into the frame for self-portraits or join in on group shots. This feature is also useful when doing timed exposures, as it reduces camera shake caused by pressing the shutter-release button when the camera is on a tripod. You can find the Self-timer settings in Custom Setting menu () c3. Here, you can select the length of the delay (2, 5, 10, or 20 secs), and the number of shots (1 through 9). If the number of shots is more than 1, the camera shoots the selected number of frames at a 4-second interval.

• Remote control mode (). You use this mode with the ML-L3 wireless remote, available separately from Nikon. This inexpensive remote uses infrared (IR) signals sent to infrared receivers on the front and rear of the D5200. This eliminates the need to press the shutter-release button on the camera. Use Custom Setting menu () c4 to select how long the camera waits for a signal (1, 5, 10, or 15 minutes) before cancelling Remote control mode () and reverting to the previously set Release mode (). You can then choose one of the following options:

• Delayed remote mode (). This provides a 2-second delay from the time that you press the ML-L3 button before the shutter releases.

• Quick response remote mode (). This immediately releases the shutter when you press the ML-L3 button. The shutter releases, regardless of whether the camera is in focus.

• Quiet shutter release mode (). This mode operates similar to Single-frame shooting mode (), except that when you hold down the shutter-release button, the reflex mirror is held up in place until you release the button. Normally, the shutter sound emits when the mirror flips up, the shutter opens and closes, and the mirror flips down. In Quiet shutter release mode (), you can split the noise into two distinct sounds: One when the mirror flips up and the shutter opens, and another when the mirror flips down when you release the shutter-release button. In theory, this makes the shutter-release button half as noisy. The idea behind Quiet shutter release mode () is that the photographer can snap a photo and move to another area before releasing the reflex mirror to the down position. In practice, however, the Quiet shutter-release mode () isn’t much quieter than Single-frame mode ().

NOTE  In Quiet Release mode (), the focus confirmation beep is disabled regardless of the setting in Custom Setting menu () d1.

ISO Sensitivity

ISO, which stands for International Organization for Standardization, is the rating for the speed of film or, in digital terms, the sensitivity of the sensor. Because they are standardized, ISO numbers allow you to be sure that when you shoot at ISO 100, you get the same exposure, no matter which camera you are using.

Unfortunately, the D5200 doesn’t have a dedicated button to change the ISO setting. Instead, you change the ISO sensitivity in the Info display’s Edit menu screen. To access it, press the Info edit button () twice, and then use the multi-selector to navigate to the ISO sensitivity option that you want. Press the multi-selector left () or right () to change the settings. When you’re finished, press the OK button ().

The D5200 has a native ISO range of 100 to 6400. In addition to these standard ISO settings, the D5200 also offers some settings that extend the available range of the ISO so you can shoot in very dark situations. These options are labeled with an H for high speed. By default, the extended ISO options are set in 1/3-stop adjustments. The high-speed ISO options are:

• H0.3, H0.7, and H1.0. These settings give you up to ISO 12800 in 1/3 steps.

• H2.0. This setting isn’t adjustable. You get one H2.0 setting that is equivalent to ISO 25600.

You can also set the ISO in the Shooting menu () under the ISO sensitivity settings option. It should be noted that using the H settings do not produce optimal results. You will notice a large amount of grain and noise in your images. When set to the H option, the camera uses the processor to increase exposure (as opposed to amplifying the signal from the sensor). You can perform these same operations manually in your favorite RAW convertor with better accuracy. For this reason, I don’t recommend using the extended ISO settings unless you are shooting JPEGs.

Auto ISO

The Auto ISO setting () automatically adjusts the ISO settings for you in locations in which the light changes, giving you one less setting to worry about. Nikon has made the Auto ISO feature available for a few years now, and I am a big proponent of it. I find that this setting results in many more low-noise images when shooting in low-light situations and at concerts. When I shoot in low light, I almost always enable this option.

In true Nikon fashion, an amazing feature is now even better in the latest cameras. Auto ISO is more intuitive and smarter. To turn on Auto ISO (), go to the Shooting menu (), select ISO sensitivity settings, and then set the Auto ISO sensitivity control to On. Nikon has also added an Auto setting that selects the threshold for shutter speed versus ISO based on focal length, which is especially handy when using a zoom lens (which most people do these days).

Be sure to set the following options in the Shooting menu () under the ISO sensitivity settings option:

• Maximum sensitivity. Choose an ISO setting that allows you to get an acceptable amount of noise in your image. If you’re not concerned about noisy images, then you can set it all the way up to H2. If you need your images to have less noise, you can choose a lower ISO; the choices are from ISO 200 to Hi 2 in 1-stop increments.

• Minimum shutter speed. This setting determines when the camera adjusts the ISO to a higher level. At the default, the camera bumps up the ISO when the shutter speed falls below 1/30 second. If you’re using a longer lens or you’re photographing moving subjects, you may need a faster shutter speed. In that case, you can set the minimum shutter speed up to 1/4000 second. On the other hand, if you’re not concerned about camera shake, or if you’re using a tripod, you can set a shutter speed as slow as 1 second. When using the Auto ISO setting (), the camera chooses the shutter speed based on the focal length of the lens (provided the lens has a CPU). When you use Auto ISO (), you can specify whether the camera gives priority to shutter speed or ISO sensitivity. Slower prioritizes shutter speed and faster prioritizes ISO sensitivity.

NOTE  The camera considers the minimum shutter speed only when it is in the Programmed auto () or Shutter-priority auto () modes.

Noise reduction

Noise starts appearing in images taken with the D5200 when you shoot above ISO 1600 or use long exposure times. For this reason, most camera manufacturers have built-in noise reduction (NR) features. The D5200 has two types of noise reduction: Long exposure NR and High ISO NR. Each of these helps reduce noise differently.

Long exposure Noise Reduction

When you activate Long exposure Noise Reduction, the camera applies a noise reduction algorithm to any shot taken with a long exposure (1 second or more). Basically, the camera takes another exposure, this time with the shutter closed, and compares the noise from this dark image to the original one. The camera then applies the noise reduction, which takes about the same amount of time to process as the length of the shutter speed; therefore, you can expect it to take about double the amount of time it takes to make one exposure.

While the camera applies noise reduction, the viewfinder displays the blinking Noise Reduction icon (). You cannot take additional images until this process is finished. If you switch the camera off before the NR is finished, noise reduction is not applied. You can turn Long exposure Noise Reduction on or off in the Shooting menu.

High ISO Noise Reduction

When you activate High ISO Noise Reduction, the camera runs any image shot at ISO 800 or higher through the noise reduction algorithm. This feature works by reducing the coloring in the chrominance of the noise and slightly softening the image to reduce the luminance noise. You can set how aggressively this effect is applied by choosing the High, Normal, or Low settings.

NOTE  Chrominance refers to the color of noise, and luminance refers to the size and shape of the noise.

You should also keep in mind that High ISO Noise Reduction slows down the processing of your images. This can reduce the capacity of the buffer, causing the frame rate to slow down when you shoot in the Continuous high-speed () or Continuous low-speed () shooting modes.

When you turn off High ISO Noise Reduction, the camera still applies noise reduction to images shot at ISO 2500 and higher, although the amount is less than when you set the camera to Low with Noise Reduction on.

NOTE  When shooting in NEF (RAW), the camera doesn’t apply any noise reduction to the data, but NR is tagged in the file. To apply the in-camera noise reduction to the final image, you must open and edit the RAW file in Nikon software.

For the most part, I do not use either of these in-camera noise reduction features. In my opinion, even at the lowest setting, the camera is very aggressive when applying noise reduction, and for that reason, there is a loss of detail. For most people, this is a minor quibble and not very noticeable, but I’d rather keep all available detail in my images and apply noise reduction in post-processing. This way, I can decide how much to reduce the chrominance and luminance rather than letting the camera do it.

NOTE  Photoshop’s Adobe Camera Raw and other image-editing software include their own proprietary noise reduction.

White Balance

Light, whether from sunlight, a light bulb, a fluorescent light, or a flash, has a specific color. The Kelvin scale measures these colors. A color’s measurement is its color temperature. The White balance () allows you to adjust the camera so your images look natural, regardless of the light source. Given that white is most dramatically affected by the color temperature of a light source, this is what you base your settings on — hence the term white balance. You can change the white balance in the Shooting or Info edit menus.

You may still wonder how a color can have a temperature. Once you understand the Kelvin scale, things will make a little more sense.

The Kelvin scale

Kelvin is a temperature scale, normally used in the fields of physics and astronomy, where absolute zero (0K) denotes the absence of all heat energy. The concept is based on a theoretical object called a black body radiator. As this black body radiator is heated, it starts to glow. When it reaches a certain temperature, it glows a specific color. It is akin to heating a bar of iron with a torch. As the iron gets hotter it turns red, then yellow, and then eventually white before it reaches its melting point (although the theoretical black body does not have a melting point).

The concept of Kelvin and color temperature is tricky as it is the opposite of what you likely think of as warm and cool colors. For example, on the Kelvin scale, red is the lowest temperature, increasing through orange, yellow, white, and to shades of blue, which are the highest temperatures. Humans tend to perceive reds, oranges, and yellows as warmer, and white and bluish colors as colder. However, physically speaking, as defined by the Kelvin scale, the opposite is true.

White balance settings

Now that you know a little about the Kelvin scale, you can begin to explore the white balance settings. White balance is so important because it helps ensure that your images have a natural look. When you deal with different lighting sources, the color temperature of the source can have a drastic effect on the coloring of the subject. For example, a standard light bulb casts a very yellow light; if the camera doesn’t add a bluish cast to compensate for the color temperature of the light bulb, the subject can look overly yellow or amber.

To adjust for the colorcast of the light source, the camera introduces a colorcast of the complete opposite color temperature. For example, to combat the green color of a fluorescent lamp, the camera introduces a slight magenta cast to neutralize the green. Here are the D5200’s white balance settings:

• Automatic white balance setting (). This setting is good for most circumstances. The camera takes a reading of the ambient light and makes an automatic adjustment. This setting also works well when you use a Nikon CLS–compatible Speedlight because the camera calculates the color temperature to match the flash output.

• Incandescent white balance setting (). Use this setting when the lighting is from a standard household light bulb.

• Flourescent white balance setting (). This setting is ideal when the lighting is coming from a fluorescent-type lamp. You can also adjust for different types of fluorescent lamps, including high-pressure sodium and mercury-vapor lamps. To make this adjustment, go to the Shooting menu (), choose White Balance, and then choose Fluorescent. From there, use the multi-selector to choose one of the seven types of lamps.

• Direct Sunlight white balance setting (). Use this setting when shooting outdoors in the sunlight.

• Flash white balance setting (). This setting is ideal when using the built-in flash, a hot-shoe Speedlight, or external strobes.

• Cloudy white balance setting (). Use this white balance setting under overcast skies.

• Shade white balance setting (). When you shoot in the shade of a tree, a building, an overhang, a bridge, or any location in which the sun is out but blocked, use this setting.

• Preset manual white balance setting (). When you use this setting, you choose a neutral object to measure for the white balance. It’s best to choose an object that is either white or light gray. There are some accessories, such as a gray card (which is included in this book) and the ExpoDisc, that you can use to set the white balance. To use the gray card, simply place it in the scene and take the reading from it. To use the ExpoDisc, attach it to the front of the lens like a filter, and then point the lens at the light source to set your White balance (). The Preset manual setting works best in difficult lighting situations, such as mixed lighting. Mixed lighting means there are two sources lighting a scene. I usually use this setting when photographing with my studio strobes.

Figure 2.14 and Figure 2.15 show the difference that white balance settings can have on your images.

Picture Controls

The Picture Control feature () allows you to adjust your image settings quickly, including sharpening, contrast, brightness, saturation, and hue, based on your shooting needs. Picture Controls are only adjustable when using the Programmed auto (), Shutter-priority auto (), Aperture-priority auto (), or Manual () modes because they are set automatically in the scene modes. To set Picture Controls, press the Info Edit button () twice to display the Info edit menu, and then use the multi-selector to navigate to the Picture Control option ().

You can save Picture Controls to a memory card and import them into Nikon’s image-editing software, Capture NX 2 or ViewNX 2. You can then apply the settings to RAW images or even to images taken with other camera models. You can also save and share these Picture Control files with other Nikon users, either by importing them to Nikon software or by loading them directly onto another camera.

The D5200 comes with the following six Picture Controls, but you can customize up to nine in-camera:

• Standard Picture Control (). This setting applies slight sharpening, and a small boost of contrast and saturation. This is the recommended setting for most shooting situations.

• Neutral Picture Control (). The Neutral setting applies a small amount of sharpening and no other modifications to the image. This setting is preferable if you do extensive post-processing to your images.

• Vivid Picture Control (). Use this setting to give your image a fair amount of sharpening, and boost the contrast and saturation. This setting is recommended for printing directly from the camera or memory card, as well as for shooting landscapes. Personally, I feel that this mode is a little too saturated and often results in unnatural color tones. It is not ideal for portraits because it usually doesn’t reproduce skin tones accurately.

• Monochrome Picture Control (). As the name implies, this option makes an image monochrome. This doesn’t simply mean black and white; you can also simulate photo filters and toned images such as sepia, cyanotype, and more. You can also adjust the settings for sharpening, contrast, and brightness.

• Portrait Picture Control (). The Portrait setting gives you just a small amount of sharpening, which gives the skin a smoother appearance. The colors are slightly muted to help achieve realistic skin tones.

• Landscape Picture Control (). The Landscape setting is, obviously, ideal for shooting landscapes and natural vistas. It appears to be very similar to the Vivid Picture Control () with a little more boost added to the blues and greens.

You can customize all of the original Picture Controls to suit your personal preferences. There are myriad options, such as giving the images more sharpening and less contrast.

NOTE  Although you can adjust the Original Picture Controls, you cannot save over them, so there is no need to worry about losing them.

You can choose from the following customizations:

• Quick adjust. This option works with the Standard (), Vivid (), Portrait (), and Landscape () Picture Controls. It exaggerates or de-emphasizes the effect of the Picture Control in use. You can set Quick adjust from –2 to +2.

• Sharpness. This setting controls the apparent sharpness of your images. You can adjust this setting from 0 to 9, with 9 being the highest level of sharpness. You can also set this option to Auto (A) to allow the camera’s imaging processor to decide how much sharpening to apply.

• Contrast. This setting controls the amount of contrast applied to your images. In photos of scenes with high contrast (sunny days), you may want to adjust the contrast down; in scenes with low contrast, you may want to add some contrast by adjusting the settings up. You can set the Contrast from –3 to +3, or to A.

• Brightness. This setting adds or subtracts from the overall brightness of your image. You can choose 0 (default), +, or –.

• Saturation. This setting controls how vivid or bright the colors are in your images. You can set it between –3 and +3, or to A. This option is not available in the Monochrome Picture Control setting ().

NOTE  The Brightness and Saturation options are unavailable when you turn on Active D-Lighting ().

• Hue. This setting controls how your colors look. You can choose from –3 to +3. Positive numbers make the reds look more orange, the blues look more purple, and the greens look more blue. Negative numbers make the reds look more purple, the greens look more yellow, and the blues look more green. This setting is not available in the MC Picture Control setting. I highly recommend leaving it at the default setting of zero.

• Filter effects. This setting is only available when you set your D5200 to the Monochrome Picture Control setting (). The monochrome filters approximate those traditionally used with black-and-white film, and increase contrast or create special effects. The following are the available Monochrome filter effects:

• Yellow. This adds a low level of contrast. It causes the sky to appear slightly darker than normal and anything yellow to appear lighter. It is also used to optimize contrast for brighter skin tones.

• Orange. This adds a medium amount of contrast. The sky appears darker, giving greater separation between the clouds. Orange objects appear light gray.

• Red. This adds a great amount of contrast, drastically darkening the sky while allowing the clouds to remain white. Red objects appear lighter than normal.

• Green. This darkens the sky and lightens any green plant life. You can use this color filter for portraits as it softens skin tones.

• Toning. Toning adds a color tint to your monochrome images. The following toning options are available:

• B&W. The black-and-white option simulates the traditional black-and-white film prints developed in a darkroom. The camera records the image in black, white, and shades of gray. This mode is suitable when the color of the subject is not important. You can use it for artistic purposes or, as with the Sepia option, to give your image an antique or vintage look.

2.16 An example of black-and-white toning. Exposure: ISO 100, f/3.5, 1/1600 +2/3EV using a Nikon 10-24mm f/3.5-4.5 at 12mm.

• Sepia. The Sepia color option duplicates a photographic toning process that is based on a traditional darkroom technique using silver-based black-and-white prints. Sepia-toning a photographic image requires replacing the silver in the emulsion of the photo paper with a different silver compound, thus changing the color, or tone, of the photograph. Antique photographs generally underwent this type of toning; therefore, the sepia color option gives the image an antique look. The images look reddish-brown. You may want to use this option to convey a feeling of antiquity or nostalgia in your photograph. This option works well with portraits, as well as still life and architectural images. You can also adjust the saturation of the toning from 1 to 7, with 4 being the default and the middle ground.

• Cyanotype. The cyanotype is another old photographic printing process. When the image is exposed to the light, the chemicals that make up the cyanotype turn deep blue. This method was used to create the first blueprints and was later adapted to photography. The images you take in this setting are in shades of cyan. Because cyan is considered a cool color, this mode is also referred to as cool. You can use this mode to make very interesting and artistic images. You can also adjust the saturation of the toning from 1 to 7, with 4 being the default setting.

2.17 A Sepia-toned image. Exposure: ISO 100, f/3.5, 1/1600 +2/3EV using a Nikon 10-24mm f/3.5-4.5 at 12mm.

2.18 An image with Cyanotype applied. Exposure: ISO 100, f/3.5, 1/1600 +2/3EV using a Nikon 10-24mm f/3.5-4.5 at 12mm.

• Color toning. You can also choose to add colors to your monochrome images. Although color toning is similar to the Sepia and Cyanotype toning options, it isn’t based on traditional photographic processes. It simply involves adding a colorcast to a black-and-white image. You can choose from seven color options: red, yellow, green, blue-green, blue, purple-blue, and red-purple. As with Sepia and Cyanotype, you can adjust the saturation of these colors.

2.19 Green color toning. Exposure: ISO 100, f/3.5, 1/1600 +2/3EV using a Nikon 10-24mm f/3.5-4.5 at 12mm.

To customize an Original Picture Control, follow these steps:

1. Go to the Set Picture Control option () in the Shooting menu (), and then press the multi-selector right ().

2. Choose the Picture Control that you want to adjust. Choose the Neutral () or Standard () Picture Control settings if you want to make smaller changes, because these have relatively low settings (contrast, saturation, and so on). To make bigger changes to color and sharpness, select the Vivid Picture Control setting (). To adjust monochrome images, choose the Monochrome Picture Control setting (), and then press the multi-selector right ().

3. Press the multi-selector up () or down () to highlight the setting that you want to adjust (such as sharpening, contrast, brightness, and so on). When the desired setting is highlighted, press the multi-selector left () or right () to adjust it. Repeat this step until you’ve adjusted all settings to suit your preference.

4. Press the OK button () to save the settings.

To return the Picture Control to the default setting, follow steps 1 and 2, and then press Delete (). A dialog box appears asking for confirmation. Select Yes to return to the default setting or No to continue to use the Picture Control with the current settings.

NOTE  When you alter an original Picture Control setting, an asterisk appears next to it, such as SD*, VI*, and so on.

To save a Custom Picture Control, follow these steps:

1. Go to the Manage Picture Control option in the Shooting menu (). Press the multi-selector right ().

2. Press the multi-selector up () or down () to select Save/edit. Press the multi-selector right ().

3. Choose the Picture Control you want to edit. Press the multi-selector right ().

4. Press the multi-selector up () or down () to highlight the setting (sharpening, contrast, brightness, and so on) that you want to adjust. Press the multi-selector left () or right () to adjust the setting. Repeat this step until you’ve adjusted all of the settings you want to change.

5. Press the OK button () to save the settings.

6. Use the multi-selector to highlight the Custom Picture Control to which you want to save. You can store up to nine Custom Picture Controls; they are labeled C-1 to C-9. Press the multi-selector right ().

7. When the Rename Menu appears, press the Thumbnail/Zoom out button (), and then press the multi-selector left () or right () to move the cursor to any of the 19 spaces in the name area of the dialog box. New Picture Controls are automatically named as the Original Picture Control name and a two-digit number (for example, STANDARD_02 or VIVID_03).

8. Press the multi-selector without pressing the Thumbnail/Zoom out button () to select letters in the keyboard area of the dialog box. Press the OK button () to set the selected letter, and then press the Delete button () to erase the selected letter in the Name area. After you type the name you want, press the Zoom in button () to save it. The Custom Picture Control is then saved to the Picture Control menu, and you can access it through the Set Picture Control option in the Shooting menu ().

To return the Picture Control to the default setting, follow steps 1 through 3, and then press the Delete button (). A dialog box appears, asking for confirmation; select Yes to return to the default setting or No to continue to use the Picture Control with the current settings.

You can rename or delete your Custom Picture Controls at any time by using the Manage Picture Control option in the Shooting menu (). You can also save the Custom Picture Control to your memory card so that you can import the file to Capture NX 2 or ViewNX 2. To save a Custom Picture Control to the memory card, follow these steps:

1. Go to the Manage Picture Control option () in the Shooting menu (). Press the multi-selector right ().

2. Press the multi-selector up () or down () to highlight the Load/save option. Press the multi-selector right ().

3. Press the multi-selector up () or down () to highlight the Copy to card option. Press the multi-selector right ().

4. Press the multi-selector up () or down () to select the Custom Picture Control you want to copy. Press the multi-selector right ().

5. Select the destination on the memory card to which you want to copy the Picture Control file. There are 99 slots in which to store Picture Control files. The Custom Picture Controls are saved to the Primary memory card.

6. Press the multi-selector right (). A message appears confirming that the file has been stored to the memory card.

After you copy your Custom Picture Control file to your card, you can import the file to the Nikon software by mounting the memory card on your computer using a card reader or USB camera connection. See the software user’s manual for instructions on importing to the specific program.

You can also upload saved Picture Controls from a memory card to your camera. Follow these steps to do so:

1. Go to the Manage Picture Control option in the Shooting menu (). Press the multi-selector right ().

2. Press the multi-selector up () or down () to highlight the Load/save option. Press the multi-selector right ().

3. Press the multi-selector up () or down () to highlight the Copy to camera option. Press the multi-selector right ().

4. Select the Picture Control you want to copy. Press the OK button () or the multi-selector right () to confirm.

5. The camera displays the Picture Control settings. Press the OK button (). The camera automatically displays the Save As menu.

6. Select an empty slot to save to (C-1 to C-9).

7. Rename the file if necessary. Press the OK button ().

File Formats, Size, and Compression

The D5200 creates and stores image data in to two types of files: NEF, or RAW, and JPEG. You can select to shoot one or the other or both at the same time. Each file type has its own strengths and weaknesses, although neither is the absolute correct type to shoot. For ease of use, more manageable file sizes, and compatibility with image-editing software (especially older software) JPEGs are great. The drawback is that you lose a lot of image information when the raw data from the sensor is converted into a JPEG file.

On the other side of the equation is the NEF or RAW file. This file format stores all of the image data recorded by the sensor as the exposure is made. The imaging processor makes note of the camera settings, but doesn’t make any final or lasting changes to the sensor data. This gives you more flexibility during the editing process. RAW files are much larger than JPEGs because they contain more information. A major drawback is that each camera’s RAW files are proprietary, and sometimes you may need to upgrade your software to the latest version to use the RAW file.

Each file type has compression algorithms applied to keep file sizes as small as possible, but with JPEGs, you can also set the camera to record a smaller image size by downsampling. I cover all of this and more in the following sections.

NEF (RAW)

Nikon RAW files are referred to as NEF. NEF stands for Nikon Electronic File. RAW files contain all the image data acquired by the camera’s sensor. When a JPEG is created, the camera applies different settings to the image, such as white balance, sharpness, noise reduction, and so on. When you save the JPEG, the rest of the unused image data is discarded to help reduce the file size. With a RAW file, this image data is saved so it can be used more extensively in post-processing. In some ways a RAW file is like a digital negative because you use it in the same way as a traditional photographic negative; that is, you take the RAW information and process it to create your final image.

Although some of the same settings are tagged to the RAW file (white balance, sharpening, saturation, and so on), these settings aren’t fixed and applied as they are in a JPEG file. This way, when you import the RAW file into your favorite RAW converter, you can make changes to these settings without detrimental effects. Capturing your images in RAW format allows you to be more flexible when post-processing them, and generally gives you more control over the quality of the images.

JPEG

JPEG, which stands for Joint Photographic Experts Group, is a method of compressing photographic files, as well as the name of the file format that supports this type of compression. The JPEG is the most common type of file used to save images on digital cameras. Due to the small size of the file that is created and the relatively good image quality it produces, JPEG has become the default file format for most digital cameras.

The JPEG compression format was developed because of the immense file sizes that digital images produce. Photographic files contain millions of separate colors, and each individual color is assigned a number; therefore, the files contain vast amounts of data, which makes them quite large. In the early days of digital imaging, the huge file sizes and relatively small storage capacity of computers made it almost impossible for most people to store images. A little over ten years ago, a standard laptop hard drive was only about 5GB. For people to efficiently store images, they needed a file format that could be compressed without losing too much of the image data during reconstruction. Enter the Joint Photographic Experts Group. This group of experts came in and designed what is now affectionately known as the JPEG.

JPEG compression is a very complicated process involving many mathematical equations, but the steps involved can be explained quite simply. The first thing the JPEG process does is break down the image into 8-×-8–pixel blocks. A color space transform is then applied to the RGB color information in each 8-×-8 block, and the RGB values are changed to represent luminance and chrominance values. The luminance value describes the brightness of the color while the chrominance value describes the hue.

Once the luminance and chrominance values have been established, the data is run through what is known as the Discrete Cosine Transform (DCT). This is the basis of the compression algorithm. Essentially, the DCT takes the information for the 8-×-8 block of pixels and assigns it an average number because, for the most part, the changes in the luminance and chrominance values will not be drastic in such a small part of the image.

The next step involves quantizing the coefficient numbers that were derived from the luminance and chrominance values by the DCT. Quantizing is the process of rounding off numbers. This is where file compression comes in. How much the file is compressed depends on the quantization matrix. The quantization matrix defines how much the information is compressed by dividing the coefficients by a quantizing factor. The larger the number of the quantizing factor, the higher the quality (and therefore, the less compression). This is what is going on in Photoshop when you save a file as a JPEG and the program asks you to set the quality; you are simply defining the quantizing factor.

Once the numbers are quantized, they are run through a binary encoder that converts the numbers to the 1s and 0s our computers love so much. You now have a compressed file that is on average about one-quarter of the size of an uncompressed file.

JPEG compression is known as a lossy compression because when the numbers are quantized, they lose information. For the most part, this loss of information is imperceptible to the human eye. A bigger issue to consider with JPEGs comes from what is known as generation loss. Every time you open, alter, and save a JPEG, it loses a small amount of detail. After multiple openings and savings, the image’s quality starts to deteriorate, as less and less information becomes available. Eventually the image may start to look pixelated or jagged (this is known as a JPEG artifact). Obviously, this can be a problem, but you would have to open and resave the JPEG many hundreds of times before you would notice a reduction in image quality, provided you save at high-quality settings.

Image size

When saving to JPEG format, the D5200 allows you to choose an image size. Reducing the image size is like reducing the resolution on your camera; it allows you to fit more images on the memory card. The size you choose depends on what your output is going to be. If you know you will be printing your images at a large size, you definitely want to record large JPEGs. If you’re going to print at a smaller size (8 × 10 or 5 × 7), you can get away with recording at the Medium or Small setting. Image size is expressed in pixel dimensions. The large JPEG setting records your images at 6000 × 4000 pixels; this gives you a file that is equivalent to about 24 megapixels. Medium size gives you an image of 4496 × 3000 pixels, which is in effect the same as a 13.5-megapixel image. The small size gives you a dimension of 3992 × 2000 pixels, which gives you about a 6-megapixel image.

To determine what size print you can make from your file you need to do a little math. Simply divide the pixel height and width of the file size by the intended output resolution in pixels-per-inch (ppi). Higher ppi numbers give more detailed prints. Most photo quality printers print from 240ppi to 300ppi, the latter being the most common and the best setting to use for just about all of your photo printing needs. So, for example, at the largest size, the D5200 gives you a 24MP image at 6000 × 4000 pixels. Divide 6000 by 300 and 4000 by 300, and you get approximately 20 × 13 inches. See Table 2.1 for actual print sizes for each resolution, as well as the closest common print sizes that correspond to the nearest actual measurements. Keep in mind that these sizes are at 300ppi.

Table 2.1 Print Sizes

Size	Actual print size (inches)	Common print size (inches)
Large 6016 × 4016	20 × 13	17 × 11
Medium 4512 × 3008	15 × 10	14 × 11
Small 3008 × 2008	10 × 6.7	10 × 8

You can select the Image size option in the Shooting menu () to change the image size.

NOTE  You can only change image size when you shoot in the JPEG file format; RAW files record only at the largest size.

Image quality

With JPEGs, in addition to the size setting, which changes the pixel dimension, you have the Quality setting, which determines the compression ratio that is applied to your JPEG image. Your choices are Fine, Normal, and Basic. JPEG Fine files are compressed to approximately 1:4, Normal files are compressed to about 1:8, and Basic files are compressed to about 1:16.