Nikon df
While that may provide relatively fast access, it’s not actually a setting you’ll want to tweak too often it requires two hands to perform, and it’s completely unintuitive for newcomers to Nikon’s way of doing things.
#Nikon df manual
In order to switch to automatic use of all 39 focus points, you have to depress a button nestled inside the auto / manual focus toggle and simultaneously rotate the jog dial at the back of the camera. Out of the box, the Nikon Df comes with a single-point focus setting - this gives you precise control on where you want to focus, but isn’t the best option if you want to keep things quick and simple. There’s nothing about the Nikon Df’s controls that can be said to be functionally better than its modern designs, not even the ridiculous front-mounted aperture-control ring.Īdding insult to injury, the parts that Nikon chose to retain from its present-day controls are arguably its most convoluted and confusing.
Not too long ago, the company made a big deal out of the fact it slanted its shutter buttons down for better ergonomics, while its on and off levers have been perfectly quick and usable for decades. The entire control scheme is hugely disappointing because Nikon already has these things figured out. Anyone interested in a rapid-fire DSLR that can be yanked out of a bag at a moment’s notice should look elsewhere. That is surely Nikon’s effort to avoid accidental changes, as is the button that locks the control wheels, but the end result is frustrating for both your hands. The power toggle that’s wrapped around the shutter button is almost impossible to activate with just your forefinger.
#Nikon df iso
The marker for exposure sits right atop the ISO wheel, so you could easily end up choosing ISO 800 when you’re trying to shoot at 6400. The stacking of the wheels makes everything feel cramped, too, and even the labeling is misleading. You can adjust ISO and exposure via two dedicated wheels on the top-left of the camera, but you have to press a button to unlock each wheel every time you want to use it. The pentaprism bump stands out like a monument to history At first glance, the Nikon Df seems to be ideally suited to sating that need, however in practical use its abundance of dials and switches hinders more than it helps. Quick access to key settings is the reason serious photographers demand physical controls: you can’t afford to be diving into menus to tweak ISO and white balance while your window for taking the best possible photo rapidly closes. The Df’s back and bottom are indistinguishable from the company’s contemporary DSLRs it's as if Nikon couldn’t decide whether the old or new control scheme was preferable so it included both. This retro style speaks to a more honest, function-centric design language that’s surely at the heart of the current resurgence of old school shooters, but Nikon doesn’t carry it through the entire camera. It’s a beguiling look of low-tech manufacturing.
Exposed screws are apparent at the front and sides and all the key settings have been shifted to control wheels at or near the top of the camera. The Nikon Df delights in its blocky, almost crude contours. If you’ve ever dreamed of a Nikon F3 with the latest digital imaging technology inside it, that’s basically what the Df gives you. This camera nests the large full-frame sensor of Nikon’s flagship D4 into a magnesium alloy body that’s a melange of the camera-maker’s most beloved designs from the past. Fujifilm and Olympus have been the most proactive in responding to that customer demand, but Nikon hasn’t turned a deaf ear either, and it’s entering this quirky beauty contest with a real heavyweight in the form of its Df DSLR. The major trend in modern camera design is actually to go retro, returning to the mechanical switches, wheels, and dials that characterized the rise of amateur film photography. It’s no longer good enough to just shoot great pictures, you’ve got to shoot great pictures in style. That voracity for aesthetic excellence is now also being felt by camera enthusiasts.
Deion Sanders, one of the NFL’s best and most flamboyant players ever, was fond of saying that you “gotta look good to play good.” From tucking two towels into his belt on the gridiron to cutting off his sleeves during his part-time baseball career, he exemplified the ostentatious sports superstar.