Nikon d5000 for dummies pdf free download

Set your self-timer preferences through the Self-Timer option on the Custom Setting menu, as shown in Figure You can set the delay to a half second the default setting , one second, two seconds, or three seconds. Figure You can adjust the self-timer capture delay via the Custom Setting menu. When you use Self-Timer mode or trigger the shutter release with a remote control — that is, any time you take a shot without your eye to the viewfinder — you should remove the little rubber cup that surrounds the viewfinder and then insert the viewfinder cover that shipped with your camera.

Dig around in the accessories box — the cover is a tiny black piece of plastic, about the size of the viewfinder. Otherwise, light may seep into the camera through the viewfinder and affect exposure. You can also simply use the camera strap or something else to cover the viewfinder in a pinch. By default, the camera releases the shutter two seconds after you press the remote control button. To adjust that timing, hunt down the Remote Control Mode option on the Shooting menu, as shown in Figure Choose from these options: Figure Set preferences for remote-control shutter release via this menu option.

Mirror lockup and exposure delay One component of the optical system of a dSLR camera is a tiny mirror that moves every time you press the shutter button. The small vibration caused by the action of the mirror can result in slight blurring of the image when you use a very slow shutter speed, shoot with a long telephoto lens, or take extreme close-up shots. Follow these steps: 1. After framing and focusing, press the shutter button all the way down to lock up the mirror.

At this point, you can no longer see anything through the viewfinder. To record the shot, let up on the shutter button and then press it all the way down again. Remember that you still need to worry about moving the camera itself during the shot — even with the mirror locked up, the slightest jostle of the camera can cause blurring.

In other words, situations that call for mirror lockup also call for a tripod. Adding a remote-control shutter-release further ensures a shake-free shot — even the action of pressing the shutter button can move the camera enough to cause some slight blurring.

Or you can just wait the 30 seconds needed for the camera to take the picture automatically, if your subject permits. If you set the option to On, as shown in Figure , the camera waits about one second after the mirror is raised to record the image, ensuring that the mirror movement is complete before the image is recorded.

I say this from experience. When you look in your viewfinder to frame a shot, the initial value shown in brackets at the right end of the viewfinder display indicates the number of additional pictures that can fit on your memory card. For example, in the left viewfinder image below, the value shows that the card can hold more images. In the right image here, for example, the r 24 value tells you that 24 pictures can fit in the buffer.

This system exists so that you can take a continuous series of pictures without waiting between shots until each image is fully written to the memory card. When the buffer is full, the camera automatically disables the shutter button until it catches up on its recording work.

Automatic time-lapse photography The Self-Timer Release mode enables you to take up to nine pictures with one press of the shutter button, timing the frames at intervals of a half-second to three seconds. If you want to record more frames or enjoy more flexibility over the interval between images, bail out of Self-Timer mode and instead enable Interval Timer Shooting. With Interval Timer Shooting, you can record a whole memory-card full of images and space the shots minutes or even hours apart.

This feature enables you to capture a subject as it changes over time — a technique commonly known as time-lapse photography. The screen on the right in Figure appears. To begin setting up your capture session, highlight Now or Start Time. Press the Multi Selector right to display the capture-setup screen. If you selected Start Time in Step 3, the screen looks like the one in Figure If you selected Now, the Start Time option is dimmed, and the Interval option is highlighted instead.

Set up your recording session. You get three options: Start Time, Interval time between shots , and Number of Intervals and Number of Shots per Interval determines total number of shots recorded. The current settings for each option appear in the bottom half of the screen, as labeled in Figure For example, in the figure, the hour box for the Start Time setting is active.

Press the Multi Selector right or left to cycle through the value boxes; to change the value in a box, press the Multi Selector up or down. Make sure that the value you enter is longer than the shutter speed you plan to use. Press the Multi Selector right until you see the screen shown in Figure Highlight On and press OK.

If you selected Now as your interval-capture starting option, the first shot is recorded about three seconds later.

Figure When you see this screen, A few final factoids: highlight On and press OK to begin timed interval shooting. Before each shot is captured, the display changes to show the number of intervals remaining and the number of shots remaining in the current interval. The first value appears in the space usually occupied by the shutter speed; the second takes the place of the f-stop setting.

You also can view the values at any time by pressing the shutter button halfway. To resume the interval shooting, highlight Restart and press OK.

To cancel interval timing altogether, select Off and press OK. You can also interrupt the interval sequence by turning off the camera — which also gives you the chance to install an empty memory card, if the current ones are full. When you turn on the camera again, choose Restart and press OK to continue shooting.

See Chapter 7 to find out what bracketing is all about. It will initiate focusing before each shot. But be sure that the interval between shots is long enough to account for the delay.

The monitor goes dark about four seconds before the next shot is taken. Why, you ask, would Nikon do such a thing? Why not set up the camera to produce the best images right out of the box? The answer is that using the top setting has some downsides. Whether that compromise is right for you, however, depends on your photographic needs. To help you decide, the rest of this chapter explains the Image Quality setting, along with the Image Size setting, which is also critical to the quality of images that you print.

The other examples show five common digital-image defects. Each of these defects is related to a different issue, and only one is affected by the Image Quality setting on your D The fix is to increase image resolution, which you do via the Image Size control. Noise can occur with very long exposure times or when you choose a high ISO Sensitivity setting on your camera. You can explore both issues in Chapter 7. Chapter 8 covers this control and other color issues.

Your D offers an automated, internal sensor-cleaning mechanism. By default, this automatic cleaning happens every time you turn the camera on or off. You also can request a cleaning session at any time via the Clean Image Sensor command on the Setup menu. Chapter 1 has details on this menu option. But if you frequently change lenses in a dirty environment, the internal cleaning mechanism may not be adequate, in which case a manual sensor cleaning is necessary.

You can do this job yourself, but. Instead, find a local camera store that offers this service. When diagnosing image problems, you may want to open the photos in ViewNX 2 or some other photo software and zoom in for a close-up inspection. Some defects, especially pixelation and JPEG artifacts, have a similar appearance until you see them at a magnified view.

I should also tell you that I used a little digital enhancement to exaggerate the flaws in my example images to make the symptoms easier to see. With the exception of an unwanted color cast or a big blob of lens or sensor dirt, these defects may not even be noticeable unless you print or view your image at a very large size.

First, any digital camera can produce these defects under the right circumstances. Second, by following the guidelines in this chapter and the others mentioned in the preceding list, you can resolve any quality issues that you may encounter. Considering image size: How many pixels are enough? Like other digital devices, your D creates pictures out of pixels, which is short for picture elements.

You can see some pixels close up in the right example of Figure , which shows a greatly magnified view of the eye area in the left image. Figure Pixels are the building blocks of digital photos. You can monitor the setting in the Control panel and Information display, in the areas highlighted in Figure Figure You can view the pixel count for each setting in the Shooting menu.

Either way, you can choose from three settings: Large, Medium, and Small. You can view the resulting resolution value for each setting if you adjust the option via the Shooting menu, as shown on the right in Figure The first pair of numbers shown for each setting represents the image pixel dimensions — that is, the number of horizontal pixels and the number of vertical pixels. The second value indicates the approximate total resolution, which you get by multiplying the two pixel dimension values.

This number is usually stated in megapixels, abbreviated M on the menu screen but typically abbreviated as MP in other resources, including this book. One megapixel equals 1 million pixels. Note, however, that if you select Raw NEF as your file format, all images are captured at the Large setting.

Depending on your photo printer, you typically need anywhere from to pixels per linear inch, or ppi, of the print. To produce an 8 x 10 print at ppi, for example, you need a pixel count of x , or just less than 2 megapixels. In fact, upsampling typically makes matters worse.

The printing discussion in Chapter 6 includes some example images that illustrate this issue. Instead, resolution determines the size at which the image appears. This issue is one of the most misunderstood aspects of digital photography, so I explain it thoroughly in Chapter 6.

For now, just know that you need way fewer pixels for onscreen photos than you do for printed photos. In fact, even the Small resolution setting on your camera creates a picture too big to be viewed in its entirety in most e-mail programs.

So a higher-resolution image has a larger file size than a low-resolution image. As you can see, resolution is a bit of a sticky wicket. What if you want to print your photos and share them online? You then can create a low-resolution copy of the image in your photo editor for use online. In fact, your camera offers a built-in resizing option; Chapter 6 shows you how to use it. I find the Large setting Keep in mind that even at the Small setting, your pixel count x is more than enough to produce an 8-xinch print at ppi.

The benefit of maxing out resolution is that you have the flexibility to crop your photo and still generate a decent-sized print of the remaining image.

Figures and offer an example. But because I had the resolution cranked up to Large, I could later crop the shot to the composition you see in Figure and still produce a great print. Your choice does impact picture quality, but so do other factors, as outlined at the beginning of this chapter.

In addition, your choice of file type has ramifications beyond picture quality. You also can choose to record two copies of each picture, one in the Raw format and one in the JPEG format. You can view the current format in the Control panel and Information display, as shown in Figure The next section explains these three options. In Figure , the symbol shows that two cards are installed, and that the Overflow setting is selected for Slot 2.

See the Chapter 1 section related to using two memory cards at the same time for information on how to decode this aspect of the display. The rest of this chapter explains the pros and cons of each file format to help you decide which one works best for the types of pictures you take.

Be sure to spin the Main command dial: Rotating the Sub-command dial while pressing the Qual button adjusts the Image Size resolution setting. Look for details about these features in the upcoming discussions of each format.

The next two sections tell you what you need to know about JPEG. You also can print and edit JPEG files immediately, whether you want to use your own software or have pictures printed at a retail site.

The downside — you knew there had to be one — is that JPEG creates smaller files by applying lossy compression. This process actually throws away some image data. The chance of seeing some artifacting increases as well. This setting is the default option.

By default, the camera applies compression with a goal of producing consistent file sizes, which means that highly detailed photos can take a larger quality hit from compression. But through the JPEG Compression option on the Shooting menu, shown in Figure , you can tell the camera to instead give priority to producing optimum picture quality when applying compression. To go that route, choose the Optimal Quality setting, as shown in the figure.

For the default option, choose Size Priority. Note that the compression ratios just mentioned for the Fine, Normal, and Basic options assume that you use the Size Priority option. The ratios will vary from picture to picture, as will the picture file sizes, if you select Optimal Quality. Again, that example is exaggerated to help you be able to recognize artifacting defects and understand how they differ from other image quality issues. Nikon chose the Normal and Size Priority options as the default JPEG settings — in other words, a notch down from the top quality settings.

You never know when a casual snapshot is going to turn out to be so great that you want to print or display it large enough that even minor quality loss becomes a concern.

And of all the defects that you can correct in a photo editor, artifacting is one of the hardest to remove. I suggest that you do your own test shots, however, carefully inspect the results in your photo editor, and make your own judgment about what level of artifacting you can accept.

Artifacting is often much easier to spot when you view images onscreen. With Raw, the camera simply records the original, unprocessed image data. The photographer then uses a tool known as a Raw converter to produce the actual image, making decisions about color, exposure, and so on at that point.

When you choose JPEG as the Image Quality setting, your pictures contain 8 bits each for the red, blue, and green color components, or channels, that make up a digital image, for a total of 24 bits. That translates to roughly Choosing the Raw setting delivers a higher bit count.

You can set the camera to collect 12 bits per channel or 14 bits per channel. More about that option and some other Raw-related options momentarily.

Although jumping from 8 to 14 bits sounds like a huge difference, you may not really ever notice any impact on your photos — that 8-bit palette of Where having the extra bits can come in handy is if you really need to adjust exposure, contrast, or color after the shot in your photo-editing program.

In cases where you apply extreme adjustments, having the extra original bits sometimes helps avoid a problem known as banding or posterization, which creates abrupt color breaks where you should see smooth, seamless transitions. On the D, you can apply two alternative types of compression to reduce Raw file sizes slightly, but neither impact image quality to the extent of JPEG compression. Or you can turn off compression altogether. You can print them immediately if you use Nikon ViewNX 2, but most other photo programs require you to convert the Raw files to a standard format such as JPEG or TIFF a popular format for images destined for professional printing first.

However, this free tool gives you limited control over how your original data is translated in terms of color, exposure, and other characteristics — which defeats one of the primary purposes of shooting Raw. You can get a look at Capture NX 2 as well as some competing programs in Chapter 6. Of course, the D also offers an in-camera Raw converter, which I also cover in Chapter 6. Whether the upside of Raw outweighs the down is a decision that you need to ponder based on your photographic needs, your schedule, and your computer-comfort level.

If you do decide to try Raw shooting, the next section explains a few Raw setup options. I upload the JPEGs to a photo-sharing site where everyone can view them and order prints, and then I process the Raw versions of my favorite images for my own use when I have time.

Ditto for portable media players and digital photo frames. More bits mean a bigger file but a larger spectrum of possible colors, as explained in the preceding section. The default setting is 14 bits. Figure Set the file bit depth through this Shooting menu option. As its name implies, this type of compression results in no visible loss of image quality and yet still reduces file sizes by about 20 to 40 percent.

In addition, the compression is reversible, meaning that any quality loss that does occur through the compression process is reversed at the time you process your Raw images. You can change to a setting that delivers a greater degree of file-size savings if you prefer. Selecting the Compressed setting instead of Lossless Compressed shrinks files by about 40 to 55 percent. Together, the choices you make for these three settings make a big difference in the size of your picture files and, thus, your memory card capacity.

A bit file captured at the Compressed setting, for example, has a file size of If you ratchet up the Raw settings to combine the bit file with the Lossless Compressed setting, a single picture file consumes about Figure To keep Raw file compression to a minimum, select the Lossless Compressed option.

And frankly, I doubt that too many people could perceive much difference between a photo captured at that setting and a bit, Lossless Compressed picture. See Chapter 1 to find out how you can send the two versions to separate memory cards instead. Chapter 5 explains more about viewing and deleting photos. Chapter 1 explains how to configure a two-memory-card setup. On one hand, it provides a full range of powerful controls, offering just about every feature a serious photographer could want.

On the other, it offers automated photography modes that enable people with absolutely no experience to capture beautiful images. Things work a little differently in Live View mode, which enables you to use the monitor instead of the viewfinder, so Chapter 4 concentrates on that shooting option. Setting Up for Automatic Success Your D offers a variety of fully automatic exposure modes, which you access via the Mode dial, shown in Figure Your choices include Auto, which is a general purpose, point-and-shoot type of option; Auto Flash Off, which does the same thing as Auto but without flash; and Scene, which gives you access to more than a dozen additional automatic modes that are geared to shooting specific types of pictures.

For normal shooting, set the dial to the S Single Frame position, as shown in the figure; at this setting, the camera captures one image each time you press the shutter button.

When shooting action, consider changing to Continuous Low or Continuous High, which record a burst of images as long as you hold down the shutter button. On the D kit lens, select the setting via the switch labeled in Figure Then also set the Focus-mode selector switch on the camera body to AF for autofocus or M for manual focusing.

Select On for handheld photography; set the switch to Off when you mount the camera on a tripod. See Chapter 1 for additional details. But in most cases, you can alter the behavior of the flash through the Flash mode setting. For example, in Figure , the symbols show that the flash is set to Auto, meaning that the camera will automatically fire the flash if it thinks the ambient lighting is insufficient.

The TTL label that appears with the icon in the left screen in Figure stands for through-the-lens, which refers to the way that the camera measures the ambient light when it calculates how much flash power is needed.

Warn your subject to wait until after the final flash to stop smiling. Note that some Scene modes use a variation of red-eye reduction, combining that feature with a slow shutter speed. In that case, you see the little eye icon plus the word Slow.

And the Night Portrait Scene mode combines a slow shutter with the normal Auto flash mode, so the word Slow appears with the normal flash symbol. Again, use a tripod for good results. Chapter 2 explains both options and offers advice on when you may want to stray from the default settings. You can adjust the setting through the Shooting menu or by pressing the ISO button while rotating the Main command dial.

The current setting appears in the displays in the areas labeled in Figure In the Information display, the camera also shows you the specific ISO value it plans to use when taking the picture — , in Figure Leave this one set to its default, Off, until you explore the details in Chapter 8. Chapter 7 explains the pros and cons of enabling them.

See the end of Chapter 1 to find out how to restore the default Shooting menu options. As Easy as It Gets: Auto and Auto Flash Off When you set the Mode dial to the Auto or Auto Flash Off setting refer to Figure , the camera analyzes the scene in front of the lens and selects the picture-taking options that it thinks will best capture the image. All you need to do is compose the scene and press the shutter button. Chapter 4 explains why and shows you how to take pictures in Live View mode.

Set the focusing method auto or manual , Release mode, and other basic settings as outlined in the preceding section. Look for the focus markings in the viewfinder. The rectangle, labeled in the figure, represents the active focus point. By default, the center focus point is selected.

Frame the image so that your subject appears within the autofocus brackets for autofocusing or focus point manual focusing. Autofocus brackets Focus point If necessary, you can reposition the focus point by pressing the Multi Selector.

To focus manually, rotate the focus ring on the lens. On the kit lens, remember to move the lens switch from A to M before turning the focusing ring to avoid damaging the lens.

If you Figure Position your subject within the use another lens, check the lens area surrounded by the autofocus brackets manual for instructions. Press and hold the shutter button halfway down. The autoexposure meter analyzes the light and selects initial aperture f-stop and shutter speed settings, which are two critical exposure controls.

Chapter 7 explains these two options in detail. You can set the Flash mode to auto normal or red-eye reduction mode. Or, if you prefer, you can disable the flash by changing the Flash mode to Off, as explained in the preceding section.

Or just move the Mode dial to the Auto Flash Off exposure setting. In dim light, a little lamp located on the front of the camera, just to the left of the shutter button, may shoot out a beam of light. That lamp, called the autofocus-assist illuminator, or AF-assist lamp for short, helps the camera measure the distance between your subject and the lens so that it can better establish focus. Check the focus indicators in the viewfinder. Then just a single black focus point remains to show you the final focusing area selected by the camera.

In the display at the bottom of the viewfinder, the round focus indicator, labeled in Figure , lights to give you further notice that focus has been achieved. If the triangle is to the left of the dot, as shown on the left in Figure , focus is set in front of the subject; if the triangle is to the right, focus is set behind the subject. And if both triangles blink, the autofocus system is stymied, so switch to manual focus.

Make sure to adjust the viewfinder to your eyesight, as covered in Chapter 1, so that you get an accurate depiction of focus. Press the shutter button the rest of the way down to record the image. When the recording process is finished, the picture appears briefly on the camera monitor.

Focus in front of subject Focus behind subject Figure A triangle next to the focus indicator announces a focusing problem. Unfortunately, a high ISO can create noise, a defect that makes your picture look grainy. However the flash is expensive. If you want the ability to have your D connect to a phone or tablet, you will need an Eye-Fi memory card. Eye-Fi cards have built in wireless adapters. Newer cameras have built in wifi, so the cards are less common.

You can still find Eye-Fi cards on Amazon. Below is a link to a official PDF copy of the manual provided by Nikon. The User's Manual shows you how to use all of the features of the camera and has all of the camera specs.

The proper support site for your region will allow you to register your camera, get warranty information, schedule a repair, show service advisories, and answer common support questions. Nikon D The D has long since reached the market but still has many followers.

In fact, the passage of time has made its price fall but not the quality it offers, although it is only possible to get it second-hand. Smartphones have occupied our time practically all last year but in we will upload manuals of all types of devices. Among its virtues we can highlight its multi-angle LCD screen with a size of 2. Nama saya adalah Fandy,Saya hanyalah blogger pemula yang ingin belajar dan berbagi dengan sahabat, Semua artikel blog ini bersumber dari pengalaman saya dari dunia blogger.

Welcome to my Blog Thanks for visit Welcome to my Blog. Share this history on :. Kunjungi juga artikel terkait Related Posts with thumbnails and summary post for blogger. Subscribe to: Post Comments Atom. Entri Populer no title. D Other products. Manuals Manuals Firmware Software. Title Language Size. User's Manual English Firmware Manuals Firmware Software. Download firmware for Nikon digital products firmware being the built-in software that controls cameras and other devices.

Note that a card reader or other equipment may be required for some firmware updates. Instructions can be found on the download page. Although your device does not support this download service, it can be used to view download information. Title Version Released.