I bought both the Nikon V1 and J1, plus all the lenses and accessories. What I’d like to see in the next generation:

1. More lenses. While I have the FT-1 adapter, using my AF-S lenses on the V1 will be mostly for fun. I wouldn’t mind a few native CX lenses, say, in the 5-9mm range, maybe a 25-75mm f/2.8, a 30mm f/1.8 prime, a 25mm macro, etc. I should emphasize that I have no idea whether any of these are optically or physically possible, or whether the optical design needed would make them excessively huge and/or expensive. If fairly-priced lenses of this sort could be offered, I’d welcome them.

2. A compact CLS-compatible flash with more power than the SB-N5 that fits the multi-accessory port. Slightly larger and powered by its own batteries (perhaps a special pack or rechargeable AAAs) would be acceptable. For when you want more than fill flash, or need to trigger other CLS flash units wirelessly.

3. A tiny, less expensive, multi-accessory port version of the SU-800. Alternatively, a Pocket Wizard/Radio Popper trigger. If I were a serious V1 shooter, I might pay $200 or a little more for one of those.

4. More megapixels (but not too many.) As sensor technology improves, a few more megapixels in a Nikon V2 might be nice. It’s possible Nikon is already pushing the envelope with 10MP in a CX sized sensor with the image quality the V1/J1 have, and so a MP bump may be awhile in coming. I’m not one of those megapixel nutjobs (say, who are outraged that the D4 has “only” 16.2MP), and prefer better IQ and higher ISO performance over megapixels any day. But if Nikon can go from 12MP in the D90 to 16MP in the D7000 with a DX sensor, and get better image quality, it might be reasonable to expect a V2 a couple years down the road to have 14MP with better IQ than the V1. This is not high on my list of priorities, but would be nice, and I think it might make the V2 more acceptable to those who do obsess on resolution.

5. More controls. If Nikon decides to aim a V1 replacement at a slightly more advanced audience, or add a third model to appeal to avid photographers, they should be able to squeeze a couple more controls onto a V1-sized body. The zoom bar, rotating multi selector dial, and minimode Mode dial work for those graduating from point-and-shoots, but should be improvable to give easier control to more advanced photographers.

The V1 and J1 are each aimed at particular photographers, and the only real problems with them are that they also have appeal to other types of shooters whose needs aren’t being met fully. The current Nikon 1 products form a nice little system with a lot of room for improvement, and I’m hoping to see some enhancements in the next year or so.

I’m really impressed with this new camera, although I’m daunted by the task of describing how to use the amazing new features it boasts.  My D3s guide was 550 pages, and I can see at least a couple hundred pages more needed to give the new movie-making and time-lapse capabilities a real workout, and describe all the new menu and controls options and how to use them.   Obviously, I’ll be discarding a hundred or so pages of obsolete material and replacing it with lots of new D4-specific tips.  I’m looking forward to it.

I’m also impressed with the way Nikon has, as it did with the Nikon 1 cameras, given us not what we expected to see, but something different and something better.  As a replacement for the D3s, the D4 is quite conservative in some respects, and wildly innovative in others.  A lot (but not all) of the innovation comes in the video/movie capture arena, which will be met with a luke-warm reception by those who never shoot movies.  Even so, I think that the new video features will benefit still photographers in many ways.

First, let’s look at the “conservative” specs before turning to the innovative stuff:

• 16.2 MP FX sensor.  Canon’s had 21MP full-frame cameras for years, and many thought that the D4 would include a 24MP or better sensor.  I think Nikon was smart to provide a modest boost rather than double the resolution of their flagship sports/photojournalism/general purpose pro camera.  At 16.2 MP, the D4 not only retains the high ISO advantage of the D3s, but actually exceeds it with a roughly one-stop gain (ISO 6400 on the D4 looks as good as ISO 3200 on the D3s.) I wouldn’t expect a 24MP camera to improve on the D3s; it might keep pace or fall a bit behind, as I expect the upcoming D800 will.   I’ve found the 12 MP of the D3s to be enough resolution for virtually everything I do, so a tweak up to 16.2 MP is a nice perk in this new camera.
• ISO increase to 204,800.   I never found anything above ISO 25,600 really useful for anything on the D3s, and don’t expect to use the D4 at that rating or above, even in emergencies.   But an available 204,800 means that lower ratings are better.  While I’ve had very good luck at ISO 6400 with the D3s, I generally stuck to the superb results I got at ISO 3200.  I am now looking forward to using ISO 6400 more frequently, and experimenting to see if ISO 12,800 might actually be a workable setting.
• Other hum-drum specs.  The D4 has lots “legacy” specifications, including 30 second-1/8000 second shutter speeds, a non-articulated LCD (modestly upsized to 3.2-inches), monaural speaker, a USB 2.0 (not 3.0) connector, and roughly the same continuous burst speed as its predecessor (the innovation comes in its ability to autofocus at such speeds.)

Okay, so where’s the innovation?

• Expeed 3 processor.  This solid-state marvel is at the heart of many of the D4′s innovative features.  It’s what allows the camera to provide its sensational new autofocus features (more on those later), improved exposure calculation, and most of those great new movie capabilities.
• 91,000 pixel (not 1005 pixel) exposure sensor. The D4 is able to examine the frame more minutely, providing much more precise exposure calculations, and pass along information to the autofocus system.  For example, this 91,000 pixel detailed look at the frame allows locking in both exposure and autofocus on human faces of a relatively small size, and tracking that subject as it moves around the frame (or even allowing it to move out of the frame if it returns within about a second.)  The exposure information can be used to calculate more accurate white balance, and give you Active D-Lighting adjustments far superior to what you got with the D3s.
• Improved autofocus.  Autofocus works in lower light levels, and with lenses having a larger effective maximum f/stop (now f/8 instead of f/5.6.)  Exactly what you want from a camera that performs well at ISO 3200 and up.
• Movie capabilities.  You say you don’t want and wouldn’t pay for movie capabilities?  Think of this: you’re not forced to use the video features, but sales of this camera to those who do prize them, and who have struggled along with the 5D Mark II’s superior video, but less than professional body and features, may flock to the D4, enabling Nikon to keep the price as low as it is through economies of scale.  The D4 really caters to the movie crowd, with integrated video features like uncompressed video output through the HDMI port, 1080p (progressive scan) video at 30 or 24 fps, using industry-standard compression.  Certainly, the D4 has a mono microphone, but also has the stereo mic and headphone ports filmmakers require.  It shoots 1920 x 1080 HD video using either FX or DX crops (interpolating the 16.2MP sensor down to 1920 x 1080 resolution), as well as a native 1920 x 1080 option that produces a 2.7X crop factor, transforming your 70-200mm VR still lens into a 190-540mm super telephoto video lens.   And these just scratch the surface of the D4′s video capabilities.
• XQD Compact Flash.  OK, I like having two of the same type cards in one camera.  I like the D7000′s dual SD cards better than the D300s’s CF/SD pairing.  But, I’m glad Nikon didn’t decide to give us two conventional CF cards or two XQD cards instead.  The former would trap the D4 in the legacy of the past, and the latter would mean everybody had to go out and buy new memory cards, which, as I write this, aren’t even available yet.  What I will do is migrate my 32GB 600X CF cards to Slot 2 of my D4, and buy a XQD card for Slot 1 as soon as possible.   I use the dual slot simultaneous backup feature more often than the overflow feature, so this makes sense for me.  Those who shoot movies more extensively than I do will want the speed XQD card for their video. Others may want a smaller XQD card for Slot 1 to retain the dual card functions, even if the pair are not identical in capacity.
• WiFi.  The new WT-5 accessory is small, useful, and brings better-than-Eye-Fi card capabilities to those of us using cameras without an SD card slot.  I’ll have more on this feature after I’ve had a chance to use it.  Of course, the camera also has a built-in Ethernet port if you don’t want to link it to your computer through Wi-Fi.
• Remote control.  The D4′s Expeed 3 processor has, in effect, a web page built in that can be accessed using your iPad, iPhone, computer, or any other device with a web browser, giving you full control/preview capabilities from near by, or afar.  No application/utility/app required!  This will be especially useful with the D4′s new time-lapse capability, which allows you to shoot time lapse series, and then combine them — in the camera — into a finished video.
• And much, much more.  There are lots of other great features to look at.  I haven’t even talked about the improved ergonomics, or commented on the unimproved AF settings procedure (the D4 gains a button where the C, S, M lever used to be — instead of flipping the lever in the dark in an instant, you need to push the button and rotate command dials.)  I’ll be looking at the best ways to use all of these as I prepare David Busch’s Nikon D4 Guide to Digital SLR Photography.

I had a, er, slight computer hardware problem last week, which ended up corrupting two of my internal hard drives, such that I couldn’t retrieve any of the files on them.  One I corrected the problem that munged my drives, it took me exactly 60 seconds to make all my important files available, and, while I worked, one of the best gadgets I’ve ever bought restored my two primary drives in a couple hours.  I never, ever lose any files, unless I try very, very hard.  I get many questions about backup, so I’ve decided to share my system.  It’s a bit extreme, but you can pick and choose and use parts of it to ensure that you will rarely lose files, too.

The only two components you must have will cost you a total of less than $100.  They’re no-brainers to install, and easy to use.  The two key pieces are a slide-out mobile rack for your computer’s SATA internal drive(s) ($19 each), and the incredible Aluratek drive duplicator (currently $77.)  You can buy them here:
Connectland SATA Drive Mobile rack
Aluratek Hard Drive Duplicator

BACKUP TO CARBONITE?

Why not back up to an online service like Carbonite, instead?  I get asked that a lot.  Cloud storage is OK for data like Word or Excel documents, but totally worthless for photographers who may shoot 4GB of pictures on a slow day.  Remember that most ISP’s intentionally throttle your upload speeds even if they give you speedy downloads.  For example, my Roadrunner service offers 32Mbps downloads, but uploads are more than 30X slower at a paltry 0.98Mbps. If I were using Carbonite, an average day’s shots would take a week or more to upload. Each month I’d fall five months farther behind! And forget about the toll that full-time uploading would take on your internet connection. A recent PC Magazine article shows a steep annual cost of backing up 50GB of data. That’s a paltry amount of storage in an age when a photographer may go out on a shoot with a Nikon having two memory card slots and a 32GB card in each one. Online “backup” is like using a band-aid to fix a gaping wound.

BACKUP TO AN EXTERNAL OR INTERNAL HARD DRIVE?

I do that, too, using TrueImage Home, that’s not an ideal solution.  Your backup files are in a cryptic state, must be restored, and subject to loss to theft, or in a fire or flood.  I use software backups as an additional failsafe.  I don’t depend on the ability to retrieve my images from backup files.

WHOLE DRIVE BACKUP

Each of the internal SATA hard drives in my computer is installed in a slide-out mobile rack, and has two identical counterparts of the same brand and capacity. That is, I have three “copies” of each of my hard drives.  Until the recent flooding in Thailand, drives were incredibly cheap (I paid $100 each for the last  three 3TB drives I purchased.)  My trio of matching drives are labeled Primary, Backup 1 and Backup 2. Primary goes in my main PC. Backup 1 or 2 goes in an identical backup computer I can use if my main PC’s motherboard explodes (it’s happened only once.) The other Backup (1 or 2) is stored off-site.

At intervals (you choose how often; it can be weekly, monthly, or whatever), I pop Primary and either Backup 1 or Backup 2 into one of my Aluratek duplicators, and make a copy.  The newest copy is stored off-site, the oldest copy goes in my backup computer. So I always have my current hard drive, a recent full backup, and a slightly less recent full backup available.  I happen to have two of the Aluratek duplicators.  That way, I have a backup for my backup device, plus I can duplicate two different drives at once. (I have four internal drives in my computer; typically, I just shut down the computer overnight, duplicate two of its drives in the Alurateks one night and the other two the following night.)

The Aluratek duplicators are stand-alone devices; they don’t need to be connected to your computers (I’ve installed mine on the other side of my office), but they are furnished with a USB cable so, if you want, you can pop in two SATA drives and access them from your computer.  I do this when I need to fetch an old file.  Since my duplicates are mirror images of my hard drives, rather than encrypted backup files, I can retrieve individual files by drilling down through the appropriate folders.

CONTEMPORANEOUS BACKUP

Of course, you might be at risk of losing some files between whole-drive backups.  I’m not.  The files I work with each day are stored on a pair of mirrored 32GB USB flash drives.  I save my working files to one of the flash drives, and a synchronizing program called AllWay Sync checks that drive every few minutes and copies any changed files to the second 32GB flash drive.  My most recent backup of working files is never more than a few minutes old, and it’s stored on non-volatile memory.  You could do something similar with a solid state SATA drive (SSD), but thumb drives are a  lot cheaper.  Of course, I have my computer connected to an UPS, so I have at least 15 minutes to finish my work and save my files if power goes out.  I’m seriously considering a whole-house generator, but that particular over-kill must wait for another day.

In a minor hardware emergency, I can remove my hard drives, slide them into the backup computer behind me, and continue working.  In a major emergency, I can snatch the flash drives from their hub, run for my life, and know I can restore just about all my work from the flash drives and my most recent backup, even if my office burns to the ground.

BUT WAIT, THERE’S MORE!

I have two 6TB Drobo RAID-like backup hard drives that I formerly used as my primary backup before I went to the Aluratek system.  Those drives still chug away, doing daily backups of my internal hard drives using TrueImage Home, which also mirrors my 32GB flash drives onto the Drobos.  I liked my Data Robots, but, after all, they reside in my office and aren’t protected from theft, flood, or fire.  They make a good tertiary backup.

COST?

I paid $77 for each Aluratek duplicator (you need only one), and $19 for each mobile rack.  The Aluratek works with 3.5-inch and 2.5-inch drives, both magnetic and SSD.    I need three drives for each drive position in my internal computer.  Generally, I buy a fast 7200rpm for my primary, and slower drives as backups.  When drive prices stabilize, figure perhaps $200 for your backup drives (you’ve already paid for your primary drive.)  No special software is required.  The 32GB flash drives, Drobos, and synchronizing/backup utilities are optional.  Once you set up the system, it’s brainless to implement and maintain.  Should you really be risking your data, or wasting time uploading it to the cloud?

I’ve been recommending the Carson MiniBrite PO-25 as a sub-$10 sensor cleaning magnifier for several years. You’ll find its virtues extolled in the last chapter of most of my camera guides. I own eight of them. But now my favorite gadget is obsolete: Carson has introduced a new model, the PO-55, with a 5X magnifier that makes it an even better tool for scanning your sensor for dust and artifacts. Here’s a link to the new model:

“Carson Mini-Brite 5X Magnifier”

I love the new Nikon V1! I purchased all four lenses available for it, plus the SB-N5 flash, and am looking forward to receiving the F-mount adapter. Forget what you read from those who speculate about the image quality of the tiny CX sensor. I’m getting results equal to any 10MP DX sensor camera I’ve used, and better than what I get with 10MP cameras with even smaller sensors, including the Canon PowerShot G12 and Nikon P7100.

With the tiny 10mm f/2.8 pancake lens, it’s a perfect walk-around camera for those times when a fast moderate wide angle is all you need. The V1 is still compact with the 10-30mm zoom, and tolerably small when you swap in the 30-110mm lens. If you don’t want to be changing lenses all the time, the 10-100mm zoom is the answer — but it’s huge, easily larger than the other three lenses combined. But it makes the most sense if you’re shooting movies with the V1, as its long range (the equivalent of 27-270mm) and power zoom is perfect for video with the camera locked down on a tripod. My book on the V1 should be available after the first of the year. My Nikon 1 “junior” camera, the J1 arrives next week, and a book devoted to it will follow.

Those who expected a Sony NEX-killer have expressed disappointment, chiefly on the basis of the small CX-sized sensor sported by the V1 and J1 (and most of the nay-sayers have never used a Nikon 1 camera.) They say that a shooter with such a small sensor ought to be really tiny (perhaps to the verge of being so small that the ergonomics are really rotten.) If you’re someone who purchases a camera based on specifications and comments from non-users, you should probably avoid the Nikon 1 cameras, because you’ll always be trying to justify your purchase both to yourself and your forum-haunting buddies.

My assessment, after using the V1 extensively, is that Nikon has been daring in carving out a new niche. It’s not an NEX-killer; indeed, after finishing my book on the NEX-5N I have a clear perspective of where the Sony models (especially the upcoming NEX-7) are superior. The two top NEX cameras are true enthusiast models. They cater to the point-and-shooter, but have a more complete array of controls and, with AP-S-sized sensors featuring 16.2 and 24 megapixels of resolution better image quality. I don’t hesitate to recommend the NEX cameras to those looking for smaller cameras with interchangeable lenses (even if those lenses are on the largish side.) Compared to the Nikon V1, the NEX models are roughly the same size, and, with the NEX-7, there’s a built-in flash and a Minolta/Alpha hot shoe that can accept a wider range of strobes, plus a 2.4 megapixel electronic viewfinder. The A-mount adapters to let you use the full line of Sony lenses are ridiculously expensive, but there’s a growing number of E-mount lenses to choose from.

The Nikon 1 cameras, in contrast, currently have only 4 lenses available, with an anemic clip on flash (with the AS-N100 hot shoe adapter still to come), feature an acceptable electronic viewfinder (with the V1), and have no particular size advantage. So, why do I like the Nikon 1 cameras so much? The perceived faults of the Nikon 1 cameras attend to common misclassification of these models. They’re not NEX-killers because they’re aimed at a different market. Yes, advanced photographers looking for a small alternative to their Nikon dSLRs will buy these, but these purchasers will be chiefly Nikon fans who want to remain loyal to their favorite vendor. These are the folks who purchased the CoolPix P7000 as a pocket camera instead of buying the PowerShot G12, or waiting for the more sensible P7100.

The true audience for the Nikon 1 cameras are part of a new niche They are folks who are enthusiastic about photography, but not enthusiastic about cameras, and who want a small camera that’s expandable, very, very easy to use, and with a modicum of options. The Nikon 1 cameras provide flexibility and advanced features without the need to fuss as much with settings. Can you benefit from Scene modes, with the camera making all the adjustments based on the type of subject you’re shooting? The Nikon V1 has scene modes for Portrait, Landscape, and other typical subjects — but doesn’t make you decide which Scene mode you’re shooting. In Still Image mode the camera defaults to automatic scene selection. You can still choose Program, Shutter Priority, Aperture Priority, or Manual exposure modes if you’ve progressed to that point, but if you want Scene modes, you don’t have to choose which mode to use.

There’s a Smart Photo Selector mode that will take a bunch of pictures for you, and choose the best, sharpest, best-composed image, plus four alternates. You can shoot HD video or slow-motion movies without bothering to learn the mechanics of how they work. Can’t decide whether to shoot a still image or a video clip? The Motion Snapshot mode will give you a still image and a one-second slow-motion movie with each press of the shutter. If you think about the kind of user who might want features like these, you’ll find it easier to understand the niche that Nikon is carving out. Best of all, the Nikon 1 cameras still offer the kind of control advanced photographers want — PASM exposure, manual focus, lens selection — so these models can serve the more traditional enthusiast niche was well as this new one. That’s why I think the Nikon 1 cameras will be successful, even though they’re not the cameras that Nikon users had expected. They’re something better.

It’s about time Nikon added a shot of the kind of innovation Sony has been demonstrating the last couple years. I’ve added the SLT-77 to my permanent stable of cameras, and may decide the NEX-7 is a keeper once it emerges from under water in Thailand. The Nikon V1 and J1 cameras look like they’re worth another slot.

If you pay attention to some of the other gurus, you’ll be falling all over yourselves rushing to upgrade the firmware of your Nikon D5100 and D7000.  Don’t do it!   If your camera is working fine, I urge you to wait at least 10 days to give the over-eager a chance to beta test Nikon’s firmware upgrade.  There have been some disastrous firmware “upgrades” in the past, and if you have no problems now, you gain nothing by jumping into this firmware upgrade now.  There’s a reason why firmware comes in A and B modules (and L and S modules for some Nikons): if an errant firmware upgrade munges your camera you can bootstrap from an earlier A or B module and restore your previous firmware configuration.

I sincerely believe there will be no problems, but I currently own both a D5100 and D7000, and I will be waiting for a couple weeks before I upgrade either.  If there are problems, they will be reported by outraged owners all over the forums.  On the other hand, I’ve been seeing lots of reports of memory card errors, mostly with SanDisk cards that are demonstrably not counterfeit, so this update is undoubtedly to address that (and some other problems.)  When the coast is clear, you can find the updates on the Nikon web site.
Nikon D7000 firmware A 1.02/B 1.03 update
Nikon D5100 firmware A 1.01/B 1.01 update
 

Sony’s  “pro” cameras, like the Alpha DSLR-A850 were just so cool that I couldn’t see the company abandoning the uber-enthusiast market by dumping true dSLRs in favor of these new-fangled mirrorless and translucent mirror models like the NEX and SLT lineups.  Now Sony has entered the pro/advanced enthusiast space with a vengeance with a 24MP NEX-7 at around $1400 and a 24MP SLT-A77 at less than $2000 (if you get it with the new, sexy 16-50mm f/2.8 super-kit lens.)

 The Sony SLT-A77 is the obvious flagship. It’s the first pro-level camera in Sony’s highly successful translucent mirror-technology, with a 24MP sensor, innovative 2.4MP electronic viewfinder that rivals dSLR optical viewfinders for clarity, a professional battery grip, industry-leading 12 fps continuous shooting, a new autofocus system, and onboard GPS. This camera is likely to appeal to professional photographers and advanced photo hobbyists looking who want a pro-level camera using SLT technology.

The massively sharp electronic viewfinder is one of the keys to possible penetration of the dSLR market.   Most photographers don’t want to give up their dSLR’s optical viewfinder for a smeary, unsharp EVF.  Sony’s ground-breaking viewfinder should make converts out of many dSLR die-hards, particularly when coupled with the SLT cameras’ ability to use faster phase-detection autofocus all the time — even when shooting movies.  With the typical dSLR, if you want to use Live View, or shoot movies, it’s necessary to flip up the mirror and switch to slower contrast-detection autofocus.  Sony’s translucent mirror technology makes live view available at all times, and that 30 percent of the illumination that’s siphoned off by the mirror is directed to the autofocus sensor in the “prism” region of the camera.  So Sony gives you full-time Live View, fast autofocus, and, with the A77, 12 frames per second continuous shooting.  Add in a pro-style vertical/battery grip, and you’ve got a camera that professional photographers and avid amateurs — especially those with large complements of Sony/Minolta lenses — will love.

The NEX-7 (and its stablemate the new NEX-5N) are not slouches either, for those who want a compact mirrorless camera.  The NEX-7 has the same 24MP sensor, and Sony continues to introduce E-mount lenses for it (as well as an adapter for A mount optics.)  The new 24mm f/1.8 Carl Zeiss Sonnar, 50mm f/1.8 OSS, and slowish 55-200mm f/4.5-6.3 OSS zooms each practically dwarf the cameras themselves, but are useful additions.  The “OSS” models have optical image stabilization built-in, which allowed Sony to optimize the anti-shake technology for each lens individually.

I still haven’t given up on new Sony Alpha dSLRs entirely, but these introductions make such cameras much less likely — or needed — than they were in the recent past.

It’s likely Nikon introduced the original P7000 last September because it saw the huge sales of the Powershot Gxx line, most recently the Powershot G12.  It was logical to assume that Canon had almost single-handedly created a huge market for a compact, high-quality digital camera for enthusiasts who wanted the full controls they were used to having on their dSLR.   So, why not a Nikon version?

It turns out that what Canon created was a huge market for compact cameras like the Powershot G12, with a lot less spill-over for wanna-be cameras like the original P7000.   Without interchangeable lenses to tie them to a particular vendor, the vast majority of Nikon owners who wanted an enthusiast compact opted for the G12.  Certainly, there were Nikon die-hards who stayed loyal, but the original P7000′s clumsy operation was somewhat of an ergonomic nightmare, and sales of the camera didn’t take off as expected, and it certainly didn’t lure people from other camps.

Now, Nikon may have successfully played catch-up with the new P7100, with features and controls that should keep many Nikon owners from straying, and may attract more than a few owners of other dSLRs looking for a compact “second” camera.  (In my case, I use my Canon PS G12 as my “wide angle” camera when I have a telephoto mounted on my “main” dSLR.  It’s easier to pick up the G12 and shoot than switch lenses for a few shots.  It also accompanies me on overseas trips: if my main camera fails, I can still shoot 90% of what I might photograph with the G12.)

An extra control dial makes the P7100 easier to operate; the flipping LCD is an attractive feature for shooting from varied angles (and can’t be ignored for those of us who aren’t as quick to crouch down for a low angle than we formerly were); and its 7.1X zoom offers more telephoto reach than you get with the G12.  It’s a faster operating camera, and now shoots at 1.2 fps in continuous mode, which we like, not because we do a lot of sports or action with a compact camera, but because we do bracket a lot, and faster bursts mean quicker bracket sets.

Cameras with tiny sensors like the G12 and P7100 typically don’t have a full range of apertures available, due to diffraction and other limitations, so a built-in ND filter is another welcome feature.  It won’t give you extra depth-of-field, but it will let you  use slower shutter speeds (when you need some blurring effect) under brighter conditions.  Since our full-size dSLRs all include HD movie-making capabilities, having 720p HD video in our backup (or walk-about) compact is important, too.  There’s even a mini-HDMI port so you can play back your movie masterpieces on a high-def TV.

I’ve got my P7100 on order (because I plan to write a book about it), and have a suspicion that it may supplant my G12 as my compact camera — at least until we see what Canon has planned next for its Powershot line.   Meanwhile, Nikon fans will be happy that they no longer have to jump ship when they go looking for a compact camera for their kit.

Although I cover recommendations for lenses and accessories in my books, I receive lots of e-mails asking about my favorites, lists of preferred gear and gadgets, and, even, oddly enough, questions about where my books can be purchased. I’ve gotten to work updating my recommendations and buying links. First up are my suggestions for key Nikon products, including my current “Nikon Product of the Month.” I’m updating my Canon and Sony recommendations as well, and hope to have those pages ready to go within a week. Meanwhile, check out my Nikon advice at:

Must Have Products for Nikon Shooters

New York Times cartoonist Randall Enos used one of my books as recommended “professional help” for Anthony Weiner!