November 30, 2005

Macworld Digital Photography Superguide

The first Macworld e-book is dedicaced to digital photography


IDG’s Macworld introduced a new method of delivery for its content with the announcement of The Macworld Digital Photography Superguide. This electronic-only book (e-book) will guide readers through every step of the photography process from buying the right camera to capturing the perfect shot to organizing, editing, and printing photos. The e-book is available online now at Macworld web site for $12.95. At more than 100 pages in length, Macworld’s first e-book takes advantage of the magazine’s leadership in helping Mac users understand one of the most popular topics in the computer market today.

“For more than a year our readers have been asking for more information about digital photography,” said Jason Snell, Macworld’s Editorial Director. “We’ve answered those requests with numerous feature stories, reviews, and even a dedicated Digital Photo column in the magazine every month. It only made sense to take everything we’ve learned about digital photography and make it available in one place.”

The Macworld Digital Photography Superguide was edited by Macworld Senior Editor Kelly Turner, who compiled the best of Macworld’s digital photography coverage over the past few years and turned to an all-star group of Macworld contributors to update, enhance, and expand the information into a timely, up-to-date compendium. Among the book’s contributors are noted authors Bruce Fraser, Jim Heid, Christopher Breen, Derrick Story, Dan Frakes, Rob Griffiths, Ben Willmore, and Joe Kissell.

Katy Grannan, Model American

“The last time I was this uncomfortable and thrilled by a book of portraits was when I first opened Diane Arbus’s monograph thirty years ago.” Richard Misrach

(c) Katy Grannan / Aperture Foudation - All rights reserved




Model American is Katy Grannan’s first monograph, featuring seventy-five of the artist’s visually striking and voyeuristically irresistible portraits. A protégée of Gregory Crewdson, Grannan was featured in Crewdon’s seminal 1999 exhibition on emerging women photographers entitled “Another Girl, Another Planet.” Model American secures Grannan’s status as one of the art world’s biggest new stars.

In Model American, Grannan’s portraits capture the intense relationship between photographer and model as well as the desire of the subject to offer him or herself up to the camera lens. She initially recruits her subjects through placing ads in local newspapers: “Art Models. Artist/Photographer (female) seeks people for portraits. No experience necessary. Leave msg.” After an initial telephone conversation, artist and model meet for a photo shoot. With subjects centrally framed and directly facing the camera, each image resonates with the tension of a first encounter.

Model American provides a survey of the artist’s key series, from “Poughkeepsie Journal” to “Mystic Lake,” revealing an incredible trajectory from Grannan’s early work to her most recent series. Grannan, at first, photographed her subjects in their own domestic settings, but has recently moved outside to public spaces, such as municipal parks near her subjects’ homes, lending these images a hint of danger while never losing their sense of delicacy and intimacy. The latest work is extremely charged and ever-so-slightly disconcerting. The underlying theme running throughout the overall body of work is that in a world of voyeurism, reality television, and celebrity culture, everyone wants to be a star.

Katy Grannan was born in Arlington, Massachusetts, in 1969. She received her B.A. from the University of Pennsylvania, Philadelphia, in 1991 and her M.F.A. from Yale University in 1999. Her work has been featured in multiple group exhibitions; she was one of four photographers selected for the Whitney Biennial 2004. Solo exhibitions of her Grannan’s work have been shown at Lawrence Rubin Greenberg Van Doren Fine Art in New York (2000 and 2003) and others. She recently received the 2004 Baum Award for Emerging American Photographers, the Theater Gallery of the Berkeley Art Museum and Pacific Film Archive (2004). Grannan is represented by Greenberg Van Doren Gallery in New York and is newly represented by the Jeffrey Fraenkel Gallery in San Francisco. She lives in New York City and San Francisco.

Jan Avgikos is a contributing editor at Artforum. Her essays and reviews appear regularly in Parkett and Flash Art, among other international publications. She has written essays for catalogs of work by John Baldessari, Felix Gonzalez-Torres, Marina Abramovic, and Cindy Sherman. She has also written extensively on contemporary artists Jack Pierson and Anna Gaskell, among others, and lectures widely on contemporary art.

Model American
Photographs by Katy Grannan
Essay by Jan Avgikos

Published by Aperture
November 2005
9 7/8 x 11 1/2 in.
120 pages
75 four-color and duotone images
ISBN 1-931788-81-2
$40.00, £22.00

November 25, 2005

Susan Bright, Art Photography Now

“As all the work in this book testifies, photography is no longer a ‘mortal enemy’ or a ‘humble servant’ to art. It is currently enjoying significant re-evaluation in terms of its profile, acceptance and status.”— Susan Bright
Photography helped shape art in the late twentieth century; in the twenty-first, it has begun to dominate it.Art Photography Now (Aperture, November 2005), is a survey that presents the work of eighty of the most important and best-known art photographers in the world today ––including Tina Barney, Gregory Crewdson, Philip-Lorca diCorcia, Nan Goldin, Andreas Gursky, Martin Parr, Cindy Sherman, Joel Sternfeld, Martin Parr, Mario Testino, to name a few. Susan Bright, former curator of the National Portrait Gallery, London, has organized the book into seven sections -- City, Portrait, Document, Object, Landscape, Fashion, and Narrative — each of which explores the diverse subjects, styles, and methods adopted by the artists. Introductions to each section outline the genres and consider why photographers are attracted to certain themes and how issues like memory, time, objectivity, politics, identity, and the everyday are tied to certain approaches. Each photographer’s work is then presented in sequence, with commentaries by the author highlighting the art’s most important aspects. Quotations from the artists appear alongside to offer valuable insights into the motivation, inspiration, and intentions behind the work. With an introduction that sets out the historical relationship between art and photography from the early nineteenth century and discusses the art world’s embrace of the medium in recent decades, Art Photography Now is a truly comprehensive guide to the essential aspects of contemporary photography. It is a visual feast and an essential resource for curators, collectors, scholars, practitioners, and anyone who wants a comprehensive, up-to-date exposure to the state of photography today. Susan Bright is an independent writer, lecturer, and curator. A former curator of photographs at the National Portrait Gallery and director of the Association of Photographers Gallery, both in London, currently she is an associate lecturer in photographic history and theory at the London College of Communication, acting director of the M.A. contemporary art course at Sotheby’s Institute of Art, London, and a course leader at Tate Modern. She has curated a variety of photography exhibitionsand has written numerous articles and essays for a number of catalogues, journals and magazines, including Photoworks, Source, Contemporary, Tema Celeste, and Showstudio. Art Photography Now Edited by Susan Bright Aperture November 2005 9 x 10 ¾ in. (22.8 x 27.3 cm) 224 pages 250 four-color images Hardcover with jacket ISBN 1-931788-91-X $50.00 U.S.

November 19, 2005

David Sterboul, Expo Photo Paris


Photographie © David Sterboul

 DAVID STERBOUL, Photographies

La désobéissance civile en plein champ



Photo © David Sterboul


Eté 2004 : plusieurs actions de fauchage de maïs OGM défrayent la chronique.

En prenant le temps de revenir sur le fil précis de deux de ces évènements, ce reportage photographique s’intéresse à la logique d’action des faucheurs et à la réaction des pouvoirs publics.

L’exposition tente ainsi de mettre à jour les raisons qui poussent des citoyens ordinaires - et parfois des élus - à transgresser la loi à visage découvert, puis à en assumer collectivement la responsabilité, jusque devant les tribunaux.


David Sterboul
La désobéissance civile en plein champ

Expo Photo des Rencontres Photographiques du Xe

Centre d'animation
Espace Château Landon
31, rue de Château-Landon , 75010 Paris
M° Stalingrad / Louis Blanc
Du lundi au vendredi de 9h à 21h
et le samedi de 9h à 12h et de 14h à 18h.

Du 15/11 au 15/12

November 16, 2005

Martin Parr, Think of England & Cocktail, Galerie Kamel Mennour, Paris

Martin Parr, Think of England & Cocktail
Galerie Kamel Mennour, Paris

18 novembre 2005 - 11 février 2006

La double exposition « Think of England » & « Cocktail », présentée à la galerie kamel mennour n’est pas qu’une exposition de plus dans l’actualité débordante de Martin Parr. A la suite de la rétrospective organisée par la Maison Européenne de la Photographie cet été à Paris, et après l’exposition « Think of England & Germany » du Kunsthalle de Mannheim (Allemagne), il s’agit de présenter un panorama de ces dernières années, une exposition thématique, celle du Martin Parr globe-trotter. A travers de nombreuses séries photographiques datant des années 1990, le propos de l’exposition est de montrer le regard que porte le photographe anglais sur ses contemporains, qu’il s’agisse de ses compatriotes britanniques, de ses voisins européens, les belges particulièrement, ou plus lointains encore, sur les russes et les japonais. Tout l’univers de Parr est là : du kitsch balnéaire à la bourgeoisie anglaise, en passant par les pâtisseries aux couleurs acidulées.

C’est par son approche oblique du documentaire social que Martin Parr s’est construit une réputation internationale. Dans ses photographies colorées et éclatantes, Parr se concentre sur la dérision et la trivialité de nos habitudes, avec ce regard tendre, distant et amusé, mais toujours teinté d’un brin d’ironie et de cynisme. Car s’il nous observe, c’est réellement avec un regard d’entomologiste, scrutant à la loupe, les moindres détails de notre quotidien, sans compromis ni concession. C’est en grattant la surface de ses clichés, bien au-delà du comique de ses photographies, que l’on découvre l’intelligence du travail de Martin Parr. Celle de dénoncer avec subtilité, sous la face visible de la société, le ridicule et la cruauté de nos sociétés contemporaines, la globalisation, le tourisme de masse, l’addiction aux nouvelles technologies (série Phone Project par exemple).

Au 60 rue Mazarine sera présentée une sélection d’oeuvres issues de la série « Think of England ». Au 72 rue Mazarine, la majeur partie de l’exposition présente des oeuvres tirées des séries « Common Sense », « Small World », « Benidorm », « Bored Couples » , « Food », « Think of Germany », « Knokke-Le-Zoute », « Stalin World », « Cherry Blossom Time in Tokyo » et « Phone Project ».

MARTIN PARR est né en 1952 à Epsom dans le Surrey, en Angleterre. Il a étudié la photographie à l’Ecole Polytechnique de Manchester, de 1970 à 1973. En 2005, il a été exposé au Museum of Contemporary Art de Chicago, à la House Gallery de Vancouver, à la M.E.P, au Bon Marché et lors de la rétrospective Magnum au Centre Pompidou à Paris, et dernièrement, au Kunsthalle de Mannheim (Allemagne). Il a également participé à PhotoEspana à Madrid.

Mériadek Caraës

Kamel Mennour
60 rue mazarine - 75006 Paris - France

November 15, 2005

Shirin Neshat and Claude Zervas’ Works at SAM


The Seattle Art Museum (SAM) has added two important works to its collection: Claude Zervas’ sculpture Nooksack (2005) and Shirin Neshat’s video Tooba (2002).


Multimedia artist CLAUDE ZERVAS uses technology to abstract landscape in Nooksack, comprising 32 nine-inch fluorescent lights and hundreds of feet of cascading white wire. An expert in computers and digital technologies, Zervas uses their magic to transform the topography of the Nooksack River into a luminous drawing that appears to float above the ground. The composition of this sculpture is inspired by the topography and flow of the river as it winds towards Puget Sound. This work is part of a larger series that includes video and photography, and will be part of the upcoming exhibition Made in Seattle (May 4 – July 23, 2006) at the Seattle Asian Art Museum. Nooksack was purchased for the museum by John and Shari Behnke, Rena Bransten, Carlos Garcia, David Lewis, Kim Richter, Josef Vascovitz, Robin Wright, Dawn Zervas, and the Contemporary Arts Council.


Iranian-born photographer, filmaker and video artist SHIRIN NESHAT is best known for videos of archetypal imagery and spare elegance that explore the experience of exile and complexities of contemporary Islam. Her most ambitious works, including Tooba, unfold on two projection screens creating visual oppositions of tradition and modernity, nature and culture, individual and collective and male and female. The video will go on display at the Seattle Asian Art Museum for the reopening on January 14, 2006. Tooba was inspired by the novel Women Without Men by Iranian writer Shahrnoush Parsipour, who was imprisoned for five years for her work. Shot near Oaxaca in Mexico, Tooba contrasts an earthly paradise with a mountainous landscape, and begins by focusing on a central female character nearly merged into a large fig tree set alone in a walled garden. The image of a woman symbolizing the soul of the tree originates in myths of the promised tree in the Koran, commonly known as a “feminine tree.” Over the barren landscape men and women draw near, impinging on this enclosure – the only one within the vast landscape; they threaten the space, solitude and peace therein. As the invading men and women seek refuge in the garden the woman disappears into the tree, called Tooba, which means eternal happiness. In the Koran this tree offers shelter and sustenance. Shirin Neshat explains: “The idea is that they are transcending everyday life and moving into something greater.”

Shirin Neshat was born in Qazvin, Iran in 1957, and came to the United States in 1974 at age 17, to study art at the University of California in Berkeley. Her first return to her country in 1990 coincided with the beginning of her career as a photographer, filmmaker and video artist. She established her reputation in 1999, winning the international prize at the Venice Biennale. She has held solo exhibitions in England at Tate Gallery, London (1998), Serpentine Gallery, London (2000) and in the United States at Walker Art Center (2002) and the Whitney Museum of American Art, Philip Morris (1998). Tooba was commissioned by Documenta 11 in Kassel, Germany and was the first of Neshat’s pieces to be shown in her native country, at an exhibition in Tehran’s Museum of Contemporary Art. It was also exhibited at the Asia Society, New York.

Tooba was purchased by the SAM with generous contributions from Jeffrey and Susan Brotman, Jane and David Davis, Barney A. Ebsworth, Jeffrey and Judy Greenstein, Lyn and Jerry Grinstein, Richard and Betty Hedreen, Janet Ketcham, Kerry and Linda Killinger Foundation, James and Christina Lockwood, Michael McCafferty, Christine and Assen Nicolov, Faye and Herman Sarkowsky, Jon and Mary Shirley, Rebecca and Alexander Stewart, William and Ruth True, Bagley and Jinny Wright, Charles and Barbara Wright, and Ann P. Wyckoff.


This important acquisition of works of Shirin Neshat and Claude Zervas has been made to Honor Departing Curator Lisa Corrin. The former Deputy Director of Art/Jon and Mary Shirley Curator of Modern and Contemporary Art, resigned her position to become Director of the Williams College Museum of Art.

November 9, 2005

MAC/VAL Musée d’Art Contemporain du Val de Marne


mac_val_de_marne_communication_2 Le premier musée d'art contemporain en banlieue parisienne ouvre ses portes au public le 18 novembre 2005

Le MAC/VAL, musée d’art contemporain du Val-de-Marne, situé aux portes de Paris, à Vitry, ouvre ses portes au grand public le vendredi 18 novembre 2005. Symbole d’une politique culturelle départementale forte et innovante et du soutien du Conseil général à  la  création  contemporaine,  l’ouverture  d’un

  © CLM BBDO/ Photo : ARNO BANI                         

nouveau musée d’art contemporain, en banlieue parisienne, constitue un événement majeur à vocation internationale.

A cette occasion, le public est invité à venir découvrir gratuitement le nouveau musée, sa collection et la première exposition, lors des journées portes ouvertes organisées les 18, 19 et 20 novembre.

Le MAC/VAL, construit par l’architecte Jacques Ripault, et labellisé  « Musée de France », est le fruit et l’aboutissement de plus de vingt ans d’efforts menés par le Conseil général pour promouvoir l’art contemporain et favoriser sa rencontre avec tous les publics. Le Conseil général s’est engagé dans la réalisation de ce musée d’art contemporain pour permettre la mise en valeur d’une collection d’oeuvres d’art issues du Fonds Départemental d’Art Contemporain (FDAC). Le FDAC a été créé en 1982 à l'initiative du précédent président du Conseil général du Val-de-Marne, Michel Germa. Sa direction artistique était assurée par le journaliste et critique d'art, Raoul-Jean Moulin. Le Conseil général a conduit une politique active d’acquisitions depuis 1982. La collection est également constituée de nombreuses commandes d’estampes originales et du fonds Les Yeux  fertiles, Suite Paul Eluard, composé de travaux sur papier confrontant le regard d’un peintre et l’écriture d’un poète.

Une collection d’art contemporain de plus d’un millier d’oeuvres reflétant la scène artistique en France depuis les années 50 jusqu’à la création la plus récente y est présentée. Lumière !, Action !, Paysages, la Vie moderne, ce qui nous entoure, ce qui nous façonne, Face au monde et Exister sont parmi les grands axes qui guident le visiteur. Ils l’invitent à une promenade muséale et architecturale où les plus jeunes artistes dialoguent avec les figures plus historiques de la scène artistique française. Ainsi Ange Leccia et François Morellet, Annette Messager et César, Valérie Belin et Peter Stämpfli, ou encore Malachi Farrell et Jacques Monory, se répondent, cohabitent, s’interrogent et nous racontent une histoire de l’art renouvelée.

Implanté en centre ville de Vitry-sur-Seine, à immédiate proximité de Paris, entouré d’un jardin public de 10.000 m2, cet équipement, signalisé par Ruedi Baur, est doté d’une surface de 13.000 m2 dont 4.000 m2 sont dédiés aux expositions permanentes et temporaires.

Le MAC/VAL accueille également un cinéma de 150 places, un centre de documentation de 380m2, la librairie Bookstorming, le restaurant Le Transversal, et des ateliers-logements qui permettront d’accueillir des artistes internationaux en résidence.

Ce projet (inscrit au contrat de plan Etat-Région 2000-2006) représente un investissement de 30,5 millions d’euros HT financé, pour moitié, par le Conseil général du Val-de-Marne et pour l’autre moitié par le ministère de la Culture et de la Communication et la Région Ile-de-France.

La première exposition temporaire réunira, en deux temps, deux artistes majeurs de la scène artistique française :
Jacques Monory, exposition Détour, du 18 novembre 2005 au 26 mars 2006.
Claude Lévêque, exposition Le grand sommeil, de mi-mai à début septembre 2006.

Jacques Monory, Détour (18 novembre 2005 - 26 mars 2006). Cette exposition invite Jacques Monory, artiste de renom, à investir l’espace des expositions temporaires du musée avec les moyens qui lui sont propres. Il s’empare de motifs issus de la culture dite populaire (musique, cinéma, romans policiers) en convoquant la narration et la fiction, et met en scène des scénarios fictionnels et autobiographiques. Jacques Monory propose un parcours qui réinvestit au regard de ses obsessions sa production artistique des années 60 à aujourd’hui.

Le second volet de cette exposition sera consacré à Claude Lévêque, Le grand sommeil (mi-mai - début septembre 2006), qui proposera une installation in situ inédite.


La campagne de communication pour accompagner l’événement


mac_val_de_marne_communication_3 A partir du 8 novembre, une campagne de communication inédite est déclinée en télévision (sur France 3 paris Ile-de-France Centre), au cinéma (salles de cinémas du Val-de-Marne et de l’est parisien, du 16 novembre 2005 au 4 janvier 2006), ainsi que dans la presse (différents magazines et quotidiens nationaux), par voie d'affichage (dans le métro et sur les panneaux d’affichage du Val-de-Marne et de l’est parisien) et sur internet (sites web du musée, du Monde et de Télérama).

  © CLM BBDO / Photo : ARNO BANI


La campagne s’inscrit dans une démarche d’impression des émotions provoquées par l’art contemporain. Le slogan « Venez prendre l’art » invite le public à vivre au MAC/VAL un moment de découverte et de plaisir. Pour répondre de façon littérale à ce slogan, le film et les affiches mettent en scène des acteurs qui reçoivent réellement l’art en pleine figure puisque des litres de peinture ont été déversés sur eux.


  © CLM BBDO / Photo : ARNO BANI


Fiche technique de la campagne de communication

Annonceur : MAC/VAL, musée d’art contemporain du Val-de-Marne, Conseil Général du Val-de-Marne
Responsables annonceur : Alexia Fabre, Marie Rotkopf, France Jouineau
Agence : CLM BBDO
Direction de la création : Pascal Grégoire / Anne de Maupeou
Equipe création : Frédéric Lutge (Concepteur-rédacteur), Dimitri Guerassimov (Direction artistique)
Réalisateur/ photographe : Arno Bani (auteur des photographies reproduites)
Equipe commerciale : Pascal Couvry, Julien Lemoine
Achat d’art - TV producer : Isabelle Baud
Production : Wanda
Musique : Coco Rosie



Musée d’art contemporain du Val-de-Marne

Place de la Libération
94400 Vitry-sur-Seine

T +33 (0)1 43 91 64 20
E contact (at)

Site internet :


Conservateur du musée : Alexia Fabre
Responsable de la communication : Marie Rotkopf

Horaires d’ouverture

Mardi, mercredi, vendredi, samedi, dimanche : 12 heures à 19 heures
Nocturne le jeudi jusqu’à 21 heures
Fermeture le lundi


En métro :
Ligne 7 direction Mairie d’Ivry
Arrêt Porte de Choisy
Bus 183 direction Orly Teminal Sud
Arrêt : Moulin de Saquet-Pelletan
RER C : Gare de Vitry-sur-Seine
Puis bus n°180 direction Villejuif-Louis Aragon
Arrêt: Moulin de Saquet-Pelletan
En Bus :
172, 180 et 183.

November 2, 2005

Nikon Digital SLR Camera D200 Specifications

  • Type of Camera: Single-lens reflex digital camera
  • Effective Pixels: 10.2 million
  • Image Sensor: RGB CCD, 23.6 x 15.8mm; total pixels: 10.92 million
  • Image Size (pixels): 3,872 x 2,592 [L], 2,896 x 1,944 [M], 1,936 x 1,296 [S]
  • ISO Sensitivity (Recommended Exposure Index): 100 to 1600 in steps of 1/3, 1/2 or 1 EV with additional settings up to 1 EV over 1600
  • Storage Media: CompactFlash™ (CF) Card (Type I and II) and Microdrive™
  • Storage System: Compressed NEF (RAW): 12-bit compression, JPEG: JPEG baseline-compliant
  • File System: Exif 2.21, Compliant DCF 2.0 and DPOF
  • White Balance: Auto (TTL white balance with 1,005-pixel RGB sensor), six manual modes with fine-tuning, colour temperature setting, preset white balance, white balance bracketing possible (2 to 9 frames in increments of 1, 2 or 3)
  • LCD Monitor: 2.5-in., 230,000-dot, low-temperature polysilicon TFT LCD with brightness adjustment
  • Playback Function: 1) Full frame 2) Thumbnail (4 or 9 segments) 3) Zoom 4) Slideshow 5) RGB histogram indication 6) Shooting data 7) Highlight point display 8) Auto image rotation
  • Delete Function: Card format, All photographs delete, Selected photographs delete
  • Video Output: Can be selected from NTSC and PAL
  • Interface: USB 2.0(Hi-speed) (mini-B connector); mass storage and PTP connectable; FTP file transfer and PTP/IP camera control/file transfer is also available with optional WT-3 (IEEE 802.11b/g); CF card slot Type II: supports firmware updates via CF cards
  • Text Input: Up to 36 characters of alphanumeric text input available with LCD monitor and multi-selector; stored in Exif header
  • Compatible Lenses: Nikon F mount (with AF coupling and AF contacts)
  • Picture Angle: Equivalent in 35mm [135] format is approx. 1.5 times lens focal length
  • Viewfinder: Fixed eye-level pentaprism; built-in diopter adjustment (-2.0 to +1.0m-1)
  • Eyepoint: 19.5mm (-1.0m-1)
  • Focusing Screen: Type-B BriteView Clear Matte screen Mark II with superimposed focus brackets and On-Demand grid lines
  • Viewfinder Frame Coverage: Approx. 95% (vertical & horizontal)
  • Viewfinder Magnification: Approx. 0.94x with 50mm lens at infinity; -1.0m-1
  • Viewfinder Information: Focus indications, Metering system, AE/FV lock indicator, Flash sync indicator, Shutter speed, Aperture value, Exposure/Exposure compensation indicator, ISO sensitivity, Exposure mode, Flash output level compensation, Exposure compensation, Number of remaining exposures
  • Autofocus: TTL phase detection by Nikon Multi-CAM 1000 autofocus module with AF-assist illuminator (approx. 0.5m to 3.0m) Detection range: EV -1 to +19 (ISO 100 equivalent, at normal temperature: 20°C/68°F)
  • Lens Servo: Instant single-servo AF (S); continuous-servo AF (C); manual (M); predictive focus tracking automatically activated according to subject status in continuous-servo AF
  • Focus Area: Normal: 11 areas; single area or group can be selected; Wide: focus area can be selected from 7 areas
  • AF Area Mode: 1) Single Area AF 2) Dynamic Area AF 3) Group Dynamic AF 4) Dynamic area AF with closest subject priority
  • Focus Lock: Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button
  • Exposure Metering System: Three-mode through-the-lens (TTL) exposure metering. 1) 3D Colour Matrix Metering II (type G and D lenses); colour matrix metering II (other CPU lenses); colour matrix metering available with non-CPU lenses if user provides lens data; metering performed by 1,005-segment RGB sensor. 2) Centre-weighted: Weight of 75% given to 6, 8, 10, or 13mm dia. circle in centre of frame. 3) Spot: Meters 3mm dia. circle (about 2.0% of frame) centred on active focus area (on centre focus area when non-CPU lens is used)
  • Exposure Metering Range (ISO 100, f/1.4 lens, 20°C/68°F): 1) EV 0 to 20 (3D Colour Matrix or centre-weighted metering) 2) EV 2 to 20 (spot metering)
  • Exposure Meter Coupling: Combined CPU and AI
  • Exposure Modes: Programmed Auto [P] with flexible program; Shutter-Priority Auto [S]; Aperture Priority Auto [A]; Manual [M]
  • Exposure Compensation: ±5 EV in increments of 1/3, 1/2 or 1 EV
  • Auto Exposure Lock: Luminosity locked at detected value with AE-L/AF-L button
  • Auto Exposure Bracketing: 2 to 9 exposures in increments of 1, 1/2 or 1/3
  • Shooting Modes: 1) Single frame shooting mode 2) Continuous low speed (CL) shooting mode: 1-4 frames per second 3) Continuous high-speed shooting mode: 5 frames per second 4) Self-timer shooting mode 5) Mirror-up mode
  • Shutter: Electronically-controlled vertical-travel focal plane shutter, 30 to 1/8000 sec. in steps of 1/3, 1/2 or 1 EV, bulb
  • Sync Contact: X-contact only; flash synchronization at up to 1/250 sec.
  • Flash Control: 1) TTL: TTL flash control by 1,005-pixel RGB sensor
  • Built-in Speedlight: i-TTL balanced fill-flash or standard i-TTL flash (spot metering or mode dial set to [M]). SB-800, SB-600 or SB-R200: i-TTL balanced fill-flash for digital SLR and standard i-TTL flash for digital SLR. 2) Auto aperture: Available with SB-800 with CPU lens. 3) Non-TTL Auto: Available with Speedlights such as SB-800, 80DX, 28DX, 28, 27, and 22s. 4) Range-priority manual; available with SB-800.
  • Flash Sync Mode: 1) Front-curtain Sync (normal sync), 2) Red-eye Reduction, 3) Red-eye Reduction with Slow Sync, 4) Slow Sync, 5) Rear-curtain Sync
  • Built-in Flash: Manual pop-up with button release; Guide number (ISO 100, m/ft and 20°C/68°F): approx. 12/39 (manual 13/42)
  • Flash Compensation: -3 to +1 EV in increments of 1/3 or 1/2 EV
  • Accessory Shoe: Standard ISO hot-shoe contact with safety lock provided
  • Sync Terminal: ISO 519 standard terminal
  • Self-timer: Electronically controlled timer with 2 to 20 seconds duration
  • Depth of Field Preview: When CPU lens is attached, lens aperture can be stopped down to value selected by user (A and M modes) or value selected by camera (P and S modes)
  • Remote Control: Via 10-pin Remote Cord MC-30/36 (optional) or Wireless Remote Control WT-3 (optional)
  • GPS: NMEA 0183 (Ver. 2.01) interface standard supported with 9-pin D-sub cable (optional) and GPS Adapter Cord MC-35 (optional)
  • Power Source: One Rechargeable Li-ion Battery EN-EL3e, MB-D200 battery pack (optional) with one or two rechargeable Nikon EN-EL3e Li-ion batteries or six AA alkaline (LR6), NiMH (HR6), lithium (FR6) batteries, or ZR6 nickel-manganese AA batteries, AC Adapter EH-6 (optional)
  • Tripod Socket: 1/4 in. (ISO 1222)
  • Dimensions (W x H x D): Approx. 147 x 113 x 74mm (5.8 x 4.4 x 2.9 in.)
  • Weight: Approx. 830g (1 lbs 13 oz) without battery, memory card, body cap, or monitor cover
  • Supplied Accessories*: Rechargeable Li-ion Battery EN-EL3e, Quick Charger MH-18a, Video Cable, USB Cable UC-E4, Strap, Body cap, Eyepiece Cap DK-5, Rubber Eyecup DK-21, LCD monitor cover BM-6, PictureProject CD-ROM
  • Optional Accessories: Multi-Power Battery pack MB-D200, Wireless Transmitter WT-3, Semi-soft case D200, Magnifying Eyepiece DK-21M, Remote cord MC-36/30, GPS Adapter Cord MC-35, AC Adapter EH-6, Speedlight SB-800/SB-600/SB-R200, Nikon Capture 4 (Ver. 4.4)
    * Supplied accessories may differ in each country or area.
    CompactFlash™ is a trademark of SanDisk Corporation. Products and brand names are trademarks or registered trademarks of their respective companies. Note: Specifications are subject to change without notice of the manufacturer.

November 1, 2005

AF-S DX VR Zoom-Nikkor 18-200mm

En Français

New DX Zoom-Nikkor lens from Nikon features enhanced Vibration Reduction system
Compact, lightweight and packed with an array of advanced features, the AF-S DX VR Zoom-Nikkor lens offers 18-200mm f/3.5-5.6G IF-ED focal range length and 11.1x zoom coupled with Nikon ED glass, Silent Wave Motor and enhanced Vibration Reduction (VR II). The VR II feature enables significantly sharper handheld images at slower shutter speeds and in a wider range of lighting conditions than previous models. Equipped with the new lens, users can take pictures at shutter speeds up to four times slower than is possible with a non-VR lens. The combination of the VR II technology, the 11x zoom feature and the focal length range – equivalent to a 27mm-300mm lens in 35mm format – means the AF-S DX VR Zoom-Nikkor is an ideal total package for dedicated amateurs and professionals alike. Nikon’s second generation VR technology offers users two modes to match different shooting conditions. First, the VR Normal Mode, which compensates for camera shake and includes automatic panning detection, as well as automatic tripod detection. And second, VR Active Mode, which compensates for pronounced or regular vibration, for example when shooting from a moving vehicle. Like all AF-S Nikkors, the AF-S DX VR Zoom-Nikkor 18-200mm f/3.5-5.6G IF-ED features the compact Silent Wave Motor which enables high-speed autofocus that is not only extremely accurate but also super quiet, making it ideal for wildlife photography. In addition, the new lens has a minimum focus distance of 0.5m applicable to the entire zoom range. Major Features • Offers the broad 18-200mm focal range (11.1x zoom) for use in a variety of situations (equivalent to a 27-300 mm lens in 35mm format)
• VR II system offers the equivalent of using a shutter speed 4 stops faster
• Two ED glass and three aspherical lens elements minimize chromatic aberration, astigmatism and other forms of distortion, while ensuring high resolution and contrast
• Incorporates a compact SWM (Silent Wave Motor) for quiet focusing
• Delivers high-level optical performance that is specially designed for use with the Nikon digital SLRs
• Employs a seven-blade rounded diaphragm opening that achieves a natural blur for out-of-focus elements
• Enables focusing from as close as 50cm (20 in.) from the subject through its entire focal range
• M/A mode for rapid switching between autofocus and manual focus operation
• Internal Focusing (IF) design enables use of circular polarizing filters
• High-grade Nikon Super Integrated Coating (SIC) offers superb color reproduction while minimizing ghosting and flare
• Flower-shaped Lens Hood HB-35 (provided) greatly reduces stray light
  • Focal length: 18-200mm (equivalent to a 27-300mm lens in 35mm format)
  • Maximum aperture: f/3.5-5.6
  • Minimum aperture: f/22-36
  • Lens construction: 16 elements in 12 groups (two ED glass elements, three aspherical lens elements)
  • Picture angle: 76° - 8°
  • Minimum focus range: 0.5m (1.6 ft.)
  • Attachment size: 72mm
  • Dimensions (approx.): 77 x 96.5mm (3.0 x 3.8 in.)
  • Weight (approx.): 560g (19.8 oz.)
  • Included accessories: 72mm Snap-on front lens cap (LC-72), Rear lens cap (LF-1), Bayonet hood (HB-35), Soft lens pouch (CL-1018)
  • Optional accessories: 72mm screw-in filters

Available: End of December 2005

RRP: £549.99 / €821

Specifications and equipment are subject to change without any notice or obligation on the part of Nikon Corp. November 2005.