How to shoot full size Nikon D-800 with dx lens ?

I have a new job and must create full size images 7360 x 4912 using a dx lens on D-800 body. Can't seem to set camera properly. I get vignetting with menu settings of: image quality>raw (the job requires raw), image area set to Auto DX crop either on or off and all of the image area-choose image area settings. Does anyone know how to set body menu with a DX lens (happens to be Sigma 10-20 F4) so my image is captured at 7360 X 4912? I've been adjusting menu items: IMAGE AREA (Auto DX crop and Choose image area) but cannot obtain the size required. Thanks for all replies.

Turn "Auto DX crop" OFF, set "choose image area" to FX.

I get vignetting

Sure you do - it's a DX lens! The image circle the lens projects is not large enough to cover the FX sensor at any focal length setting: Sigma 10-20mm 1:4-5.6 EX DC HSM review

In short, the lens isn't suitable for what you are trying to achieve. There are DX zooms that cover the FX sensor at least with a part of their focal length range; your Sigma isn't one of them.

I have a new job and must create full size images 7360 x 4912 using a dx lens on D-800 body

.. and you're being paid for this?

You can't get a 7360 x 4912 image with a DX lens on a D800. The image will be 4800 x 3200 pixels (15.3 MP) in crop mode. Get an FX lens.

Some DX lenses do cover the entire FX frame; the 35/1.8 and the 10-24 Nikkors do (from ca 15mm). Probably many others too, but those I have tried myself. Vignetting is one issue, lower edge sharpness and increasing CA are other concerns that make it less appealing. May I ask why an FX lens is not an option for this job?

 

Try shooting some frames @15-20mm, or better yet - shoot in DX crop mode and stich the photos (if possible) in order to create a high resolution file.

Thank you three for your responses. Yes, 4800 x 3200 is what will be acceptable and a Nikkor may be in the future. Learning is always a good thing.

FWIW, the $300(new) Nikon 10-20 AF-P gives minor vignetting on FX at 13mm and none(as in cut-off corners, there's software-correctable fall-off) at 14mm.

 

I have the 14-24mm f/2.8, which is big, heavy, and excellent. The 10-20mm isn't optically as good, but it also is easy to have it disappear into my bag or leave it on a second camera(often my D600 for me) and not be sore at the end of the day. It's an unapologetically plastic lens, right down to the lens mount, but is at least optically okay.

 

Both my D600 and D800 needed an update to the latest firmware to focus with this lens-it's "focus by wire" so even manual focus requires an AF-P compatible body(~2012 and newer for DX lenses). The lens also lacks physical switches on the barrel to change the focus mode and, more importantly, turn VR on and off. The D600 and D800, even with updated firmware lack a VR off switch in the menus, so VR is always on.

FWIW, the $300(new) Nikon 10-20 AF-P gives minor vignetting on FX at 13mm and none(as in cut-off corners, there's software-correctable fall-off) at 14mm.

With the Nikon 10-20 try it at around 16mm - useable.

Great advice, gentlemen. I have no problem adding the Nikkor 14-24 2.8 to my arsenal if the roi ($1700+- lens) works into the black in bottom line which I am estimating will be the case soon.

Thanks much.

If money is tight why not consider the optically excellent and affordable Tokina 16-28 f2.8? The Nikon is $1696.95 and the Tokina is $579.00. With the money save you could buy a Nikon or Yongnuo speedlight or a new lens or heavy duty tripod and ball head.

The Nikkor AFS 14-24 f/2.8 is an excellent lens, but not for every use case. Very large, very heavy. Bulbous exposed front element that draws flare like spilled soda draws ants (it can pull in flare from behind itself on unlucky days). Its also so long in the tooth its practically turning gray: overdue for an update, which it will likely never get now that Nikon is busy producing that update for their new incompatible mirrorless Z mount.

 

If you aren't completely certain how you might use the lens over the next couple years, consider less exotic alternatives with smaller front elements before making a final purchase decision. Full sun outdoor shots often require careful planning to avoid flare with the big Nikkor.

The Nikkor 14-24 was one of the lenses that made me switch systems to Nikon in 2008. It's very good, but it does (in my experience) have inconvenient field curvature, so if you're not placing a subject centre-frame then you'll probably want to stop down; for landscape use, mine tends to spend a lot of time around f/7.1, trying to balance against diffraction (and I never try to filter it). DxO does a decent job of improving the chromatic aberration at the corners. The Sigma 14-24 Art is also supposedly good, and if you're on a budget the 14mm Samyang prime is at least decent. I'll not be surprised to see a substantial improvement from a Z-mount 14-24 (which IIRC is on the roadmap) - whether Nikon produce a mk2 version for the F mount is another matter.

I don't think you have much choice but to buy an FX lens. Which one? It depends on how much the job pays.

The image circle of a lens increases as it is stopped down, and as it gets further from the focal plane, i.e., as you focus closer. In the extreme, a process lens (for copying or photo-engraving) designed for 1:1 magnification can be used without vignetting, but not at longer distances. A zoom lens might have less vignetting at one end of the range.

 

It's possible to stop down some DX lenses and reduce the vignetting to an acceptable level. However the conditions are too restrictive to be of much practical use.

With the Nikon 10-20 try it at around 16mm - useable.

 

I have no reservations about using mine at 14mm, and even at 13mm if I can live with a tiny amount of vignetting(which gets better when the lens is stopped down).

 

Here's a nice touristy snap-shot at 14mm(on a D600). IMO, the vignetting in this case adds to the image, but since it's just serious light fall-off and not actually cut off, I could fix it if I got a bit more "aggressive" with the vignetting adjustments in LR/PS.

 

Possibly a quicker resolution to this problem.... Rent a D500 or a FX lens to get you through the shoot. You can take your time with a more permanent solution later.

Great advice, gentlemen. I have no problem adding the Nikkor 14-24 2.8 to my arsenal if the roi ($1700+- lens) works into the black in bottom line which I am estimating will be the case soon.

Thanks much.

 

Depending upon the length of the assignment, you could always rent the Nikkor. Not only would this allow you to perform you assignment, it would give you a chance to tryout the Nikkor under actual job conditions. Since this is work related, the rental cost may be tax deductible (check with your tax advisor).

Possibly a quicker resolution to this problem.... Rent a D500 or a FX lens to get you through the shoot. You can take your time with a more permanent solution later.

D500 won't do as it doesn't have the MP the OP wanted.

Thanks for thoughts, gentlemen. Ben, I like the photo. It is memorable and really draws the viewer in. Nice.

Mark: Great idea on what to do with savings. I'm assuming the Tokina you mention is a full frame which is what the gist of my post worked itself into. I"ve got the Sb910 and a 2nd speedlight would come in very handy in travel if I wanted to capture more interiors of hotel room which I always do upon arrival and for these r.estate interior shoots. Peter & bgelfand, this is a regular gig so purchase would be the way to go for me. Thanks all.

And Orsetto, do you think this flare would affect my work as lens would be strictly for interior use with ambient light and artificial lights as the light sources?

Edited February 17, 2019 by hellobob

Real estate=architecture. Have you considered the expensive but excellent PC-Nikkor 19mm f/4E? It is a tilt/shift lens that will help a lot when shooting interiors with its low distortion and large field of view. Also, a shift lens is very handy when you want to stitch images in order to get an even wider field of view. A shifted 24mm lens can give about the same perspective uncropped as you can from a 16mm lens that requires cropping in order to produce straight lines, so 19mm that shifts is really wide. Rent one before you decide. Since we are talking about paid jobs, it may well turn out to become a go-to lens for you.

Shoot smaller and use a software solution to upscale. Is the client a pixel peeper?