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When you go to a concert or a stage production and see a large, blank backdrop behind the performers, you are looking at a cyclorama. Sometimes it is used to project a light show or video clips; sometimes it just creates a neutral backdrop for the performance. Whatever you may need a cyclorama for, you can make a simple, portable one quickly and fairly cheaply. You can also use a similar set-up for creating a green screen.

You’ll Need

• 3/4 –inch PVC pipe
• Eight ¾-inch PVC caps
• Two ¾-inch PVC T-junctions
• Two ¾-inch PVC X-junctions
• PVC glue
• Two ¾-inch PVC elbows
• Sheet of white fabric
• Sewing machine
• Two Velcro conversion straps
• Two ¾-inch PVC couplings
• Gaffer’s tape and weight

Instruction

1. Cut eight 2-foot lengths of PVC pipe and two 2-inch lengths. These pieces will make up the feet of the cyclorama.
2. Attach a cap to the end of a 2-foot length. Repeat with three more pieces.
3. Dry-fit the foot into a T- and X-junction. Insert the 2-inch length into the straight side of a T-junction and a 2-foot capped length into the other end. Insert this into the X-junction, and fill the remaining three slots with another 2-foot length. This forms one of the feet of your frame.
4. Glue the pieces together. Repeat the steps to make a second foot.
5. Measure a length of PVC pipe for the width and length of the cyclorama, and cut the pieces. Make these pieces as wide and as tall as you need the cyclorama to be. You will have three pieces: one for the top and two for the sides.
6. Slide a coupling on a side piece. Repeat with the other coupling.
7. Dry-fit the frame together. Insert the top section into two PVC elbows. Insert the two sides into those elbows, then into the upturned T-junctions on the two feet. This creates the frame for your cyclorama. Make sure it is the right size and shape for your needs. If it isn't, trim the piece as needed.
8. Measure a piece of fabric so that it is precisely the height and width of the cyclorama. Add 1 inch to the width of the fabric screen and 1 foot to the height. Cut the piece of fabric to this size.
9. Fold the top foot of the sheet down. Sew 1/2-inch from the left side of the sheet to create a pocket. Repeat on the other side of the sheet. This becomes the top of your screen.
10. Flip the pocket inside out, and lay the sheet so that the pocket is facing up and at the top of your work area.
11. Measure 8 inches from the bottom of the sheet on the left and right sides. Sew Velcro or other hook-and-loop straps to this side so that half of the strap hangs off the side of the screen.
12. Slip the pocket over the top of the cyclorama frame. The fabric should be tight against the frame to hold the screen taut and hold the frame together without glue.
13. Lift the left-side coupling up to about 9 inches, and hold it in place. Attach the screen to the frame with Velcro or other hook-and-loop strips so that it is taut, then let the coupling fall to the bottom. Mark this position on the frame. Repeat on the other side.
14. Remove the screen.
15. Glue the couplings into place on the frame.
16. Take the frame apart and leave the glue to dry overnight.
17. Reassemble the frame, slide the fabric back over the top and attach the bottom into place with Velcro or hook-and-loop strips underneath the two couplings. Use gaffer's tape and weights to hold the feet in place. Place weights over the bottom edge of the screen to hold it in place.

The good: Outstanding performance for its class; excellent photo quality; solidly built; flexible custom settings architecture; video capture; onboard wireless flash controller; dual card slots.
The bad: Some annoying design and interface quirks; no significant improvements in high ISO noise performance.
The bottom line: The Nikon D300s is a great camera, especially if you need the burst speed or slightly improved low-light focus, but if you don't care about video you might consider looking for a really good deal on a D300 and using what you save to splurge on a good lens.

When a camera has an 18-month product cycle, it's hard to squash some disappointment when its follow up has only a few enhancements, despite the fact that it's common to only make a major update with every other generation. When it's a great camera to start with, like the Nikon D300, the ambivalence quotient increases even more. In some ways, I wish Nikon would have simply (or additionally) dropped the price on the D300 rather than make the few changes it did: adding video support and tweaking performance. Even the median street price hasn't changed significantly on the D300 since the D300s' announcement, at least at the time of this review, and as far as I can tell, Nikon has no plans to drop it. Just as Canon had a competitive gap in its line for the D300 for years until it announced the EOS 7D this summer, Nikon has nothing facing off with the 50D.

Nikon's offering a body-only box of the D300s, though so far a kit has also surfaced with the 18-200mm f3.5-5.6G ED VR II lens (27mm-300mm equivalent), an updated version of this lens. I tested primarily with that kit, as well as the ubiquitous 18-55mm f3.5-5.6 VR model. If you're considering the kit, the 18-200mm model represents a very convenient focal range in a relatively compact body that balances well on the D300s, but it's simply not as sharp as I'd like for the money, the zoom ring has an annoying, inconsistent rotation feel, and it still suffers from lens creep (Nikon put a lock on it to prevent creep when it's not in use, but that doesn't help while you're working with it). Ironically, I feel like I get better results with the relatively cheap 18-55mm lens, which can also focus a lot closer--10.8 versus 19.2 inches.

	Nikon D90	Nikon D300	Nikon D300s	Nikon D700
Sensor (effective resolution)	12.3-megapixel CMOS	12.3-megapixel CMOS	12.3-megapixel CMOS	12.1-megapixel CMOS
	23.6 mm x 15.8mm	23.6 mm x 15.8mm	23.6mm x 15.8mm	36mm x 23.9mm
Magnification factor	1.5x	1.5x	1.5x	1.0x
Sensitivity range	ISO 100 (expanded)/200 - ISO 3,200/6,400 (expanded)	ISO 100 (expanded)/200 - ISO 3,200/6,400 (expanded)	ISO 100 (expanded)/200 - ISO 3,200/6,400 (expanded)	ISO 100 (expanded)/200 - ISO 6,400/25,600 (expanded)
Continuous shooting	4.5fps n/a	6fps n/a raw/100 JPEG	7fps n/a raw/100 JPEG	5fps 17 raw/100 JPEG
Viewfinder magnification/effective magnification	96% coverage 0.94x/0.63	100% coverage 0.94x/0.63x	100% coverage 0.94x/0.63x	95% coverage 0.72x/0.72x
Autofocus	11-pt AF center cross-type	51-pt AF 15 cross-type	51-pt AF 15 cross-type	51-pt AF 15 cross-type
Live View	Yes	Yes	Yes	Yes
Video	1,280x720 at 24fps	No	1,280 x 720 at 24fps	No
LCD size	3 inches fixed 920,000 dots	3 inches fixed 920,000 dots	3 inches fixed 920,000 dots	3 inches fixed 920,000 dots
Shutter durability	100,000	150,000 cycles	150,000 cycles	150,000 cycles
Battery life (CIPA rating)	850 shots	1,000 shots	950 shots	1,000 shots
Dimensions (inches, WHD)	5.2x4.1x3.0	5.8x4.5x2.9	5.8x4.5x2.9	5.8x4.8x3.0
Body operating weight (ounces)	26.0	32.6	34.2	38.7
Mfr. Price (body only)	$999.95	$1,799.95	$1,799.95	$2,999.95

The body design and interface haven't changed substantially since the D200: that's both good and bad. It's still built like a tank, dust- and weather-sealed, though it's put on a couple of ounces. Despite its heft, it's comfortable to grip and operate, with one of the nicest viewfinders in its class--big and bright with 100 percent coverage and an optional grid display--and a usable streamlined layout for the traditional shooting controls. As with its predecessor, I really like the switch for the AF-Area modes, and would have liked a similar feeling control for the metering selector, to allow for thumb-only operation, such as with the D3.
As time goes on, however, certain aspects of the camera's operation have begun to annoy me. For example, Nikon carries over the ultraflexible user-settings menus that consist of two banks--shooting settings and custom settings--with four nameable slots each. But I found myself wishing they were more easily accessible, such as sitting on the mode dial a là Canon.

One of the fastest ways to access the custom settings banks is via the information display, and it still requires at least four button presses (two to get into the interactive display, one to get into the menu bank, and at least one to navigate to the desired setting with the multiselector). However, the capability to access less frequently used settings via the information display is a welcome addition to the D300s.

This may be because the multiselector used for navigation feels so mushy and imprecise that using it feels like extra work, even if only for a couple of button presses. I also wish Nikon had separated the movie settings somehow, as well as adapted the information readout to display or access movie setting information.
Also, I'm not crazy about the Live View/movie interface implementation. It may seem trivial, but in that mode, Nikon switches the function of the playback button to handle volume and display brightness, which means that to review videos or photos shot in LV you need to first exit.
One of the best new features is the addition of an SD card slot and the fairly flexible dual card slot implementation. You can configure the camera to use whichever card you deem secondary to be used for overflow, backup, and JPEG only (when shooting raw+JPEG), though only for stills; for movies, you can only pick a primary, with no alternate behaviors. (A PDF of the D300s' manual was not available online in English at the time this review published, but you can check back here, or download it in Spanish now from the same page.

If a photographer doesn't have the money to buy a professional lighting kit, he can buy simple Craftsmen lights and a diffuser. Discover how to use a fire-proof type of nylon in photography lighting with help from a producer in this free video on photography lighting.

Instructions

1. • 1
     Use the "Poor Man's Dolly." This is a well-known secret of the trade; if you can't afford a dolly track, then dig up an old wheelchair. A dolly track is essentially just a small set of train tracks upon which you can move a camera so the shot is smooth and controlled. A similar effect can be achieved simply by placing the cameraman into a wheelchair and having someone move them and control their direction. As long as your cameraman has a steady grip and can hold the camera still, the effect of using a wheelchair is almost the same as a dolly track, and is exponentially cheaper.
   • 2
     Subsitute for a steadicam. Another effect that is hard to duplicate inexpensively is the steadicam. But all you need is a box for a camera with a heavy counterweight to control the shaking. Use four small pieces of thin wood to form a box with no top or front. Drill a small hole in the bottom through which you thread a bolt that will keep the camera secure in the box. Attach a piece of a 2 x 4 board on the bottom of the box, and attach something heavy to the bottom of the 2x4 (a cinder block or a lead weight would do). This gives you the counterweight at the bottom to keep the camera from shaking, and the bolt will hold the camera in place when you're moving the steadicam back and forth.
   • 3
     Come up with a crane. It is very difficult to approximate a crane shot, because you have to be able to get your camera high up into the air and then back to the ground in an unbroken shot. The best way to do it is to a get solid, strong piece of wood that is about 20-feet long. On the far point at both ends, hang a piece of square wood, using four equal pieces of chain. When it is suspended, the wooden squares will hang evenly under the wood. Put this onto a sawhorse or another elevated piece to create a see-saw of sorts. Put your camera on one end, bolting it down by drilling a hole and threading a bolt into the threading on the bottom of the camera. On the other end, put heavy objects such as a cinder block. Using a rope to stabilize the side with the camera, you can allow the end with the camera to rise in the air because of the weight on the other side. You can go from ground level to the air, or vice versa. The higher you need to go, the more of the board you slide onto the side with the camera.