One of the frequently asked questions by our readers when we post information on Zeiss lenses (which are often optically stellar), is why Zeiss does not make autofocus lenses for DSLR cameras from Nikon and Canon. As you may already known, Zeiss is currently making autofocus lenses only for two specific mounts – Sony E (for NEX / Alpha series mirrorless cameras) and Fuji X. This line of autofocus lenses labeled as “Touit” is limited to a few lenses at the moment, with full autofocus capability and compatibility with both Sony and Fuji mirrorless cameras. So one might naturally ask why Zeiss has finally started making autofocus lenses and wonder if it has plans to start developing autofocus lenses for Nikon and Canon mounts. Although I have known the reason behind this for a while now, I decided to ask the question again from the Zeiss team at the Photo Plus show in NY last year. Specifically, I wanted to find out if Zeiss is planning to change their strategy in the future in regards to DSLR lenses.
Earlier this week, Ricoh Imaging introduced the Pentax 645Z, a high resolution 51.4 MP medium format DSLR camera. While Nikon has been relatively quiet on the resolution front with its now 2+ years old 36 MP D800/D800E models and Canon has not stepped up above 24 MP, Pentax is stepping in with a larger sensor that provides super high resolution 51.4 MP images. With its 43.8 x 32.8mm size sensor, the 645Z has a smaller version of the medium format (MF) sensor that is similar in size to the Leica S-System, although with a different aspect ratio of 4:3 vs 3:2. Compared to full-frame sensors, the physical size of the 645Z MF sensor is about 166% (or 1.66 times) larger, which is a huge difference. Enough of a difference to allow for relatively large pixel size of 5.3 microns – bigger than 4.8 microns on the Nikon D800/D800E. Why does this matter, you might ask? Well, that’s because the Pentax 645Z comes with a CMOS sensor, which is similar technology as we see on all modern DSLR cameras. Compared to traditional CCD sensors used on medium format cameras, a CMOS sensor is capable of yielding images with very little noise at high ISO sensitivity levels. As a result, the Pentax 645Z has an ISO sensitivity range of 100 to 204,800, which is a mind-boggling number for a medium format camera.
Sigma announced the new Sigma 50mm f/1.4 Art lens back in January of this year, but we were left with a couple of big unknowns such as the price. I guess it has become the latest trend to announce early development efforts by a number of manufacturers now – Nikon did the same with their Nikkor 800mm f/5.6 lens and the D4s DSLR camera. A couple of days ago, Sigma finally announced the pricing and availability of the Sigma 50mm f/1.4 DG HSM “Art” and I must say, after hearing rumors about Sigma challenging the Zeiss Otus 55mm f/1.4 in optical quality, I was very surprised to find out that the lens is going to be retailed for $950. As you may already know, I am a big fan of the new revamped line of Sigma lenses. After reviewing the 35mm f/1.4 Art, I was blown away by its sharpness, focus speed / accuracy and color rendition. So when Sigma announced the 50mm f/1.4 Art series, I looked at the MTF charts and knew immediately that the lens will not disappoint.
I have been shooting with the Fuji X-T1 for the past several weeks and I must say, I am just blown away by what this little camera can do. While I will be working my way to a review fairly soon, I wanted to provide a quick summary of my thoughts so far on the X-T1, along with some sample images using the 35mm f/1.4 and 56mm f/1.2 lenses. Ever since I received the X-T1, I just cannot stop myself from taking it every time when I go outside. Pretty much everything about the camera feels right to me – from the amazing controls and dials on the top, to the fast and responsive autofocus and the huge electronic viewfinder (EVF), making the camera a pure joy to use.
A good friend of mine, Yechiel Orgel, who is a professional commercial photographer specializing in product photography out of NYC, contacted me last week and asked for some advice on shooting the New York City Skyline from a rooftop of a luxury condo building in Brooklyn. The aim of the shoot was to show the NYC skyline that can be seen from the roof of this building. The building is located in downtown Brooklyn, roughly 3 avenue blocks from the water. The client apparently wanted to get a really large print, which would be displayed in the lobby of the building, possibly made into a wallpaper. Yechiel was a little uncomfortable with these requirements, because it is not his area of expertise and he has never produced prints that large. So he wanted to get some recommendations on how to best handle the situation. He presented a list of the following requirements:
When light rays coming from a bright source(s) of light (such as the sun or artificial light) directly reach the front element of a camera lens, they can reflect and bounce off different lens elements, diaphragm and even off the sensor, potentially degrading image quality and creating unwanted objects in images. Better known as lens “flare”, the effect can impact images in a number of ways: it can drastically reduce image contrast by introducing haze in different colors, it can add circular or semi-circular halos or “ghosts” and even odd-shaped semi-transparent objects of various color intensities. Flare is not always undesirable in photography though – sometimes in is used creatively to add artistic elements to images. In fact, lens flare is often deliberately added to movies and computer games to add a sense of realism and boost the visual experience of the viewer.
What happens when a manufacturer desperately wants rapid market share gain and mass adoption of its full-frame mirrorless cameras? You get a hard-to-refuse offer that instantly gives you cash for ANY camera in ANY condition. That’s right, Sony is giving away $300 if you trade-in your old camera. And when I say old, it could be a broken/non functional film camera that is not worth a penny, or a dead point and shoot that you have had in your drawer for years and never had a chance to dump it. With the already aggressively priced Sony A7 and A7R cameras, giving access to a full-frame A7 camera body at $1700, this $300 credit makes the A7 the cheapest full-frame camera we have seen to date, at under $1500 price tag. Clearly, Sony is not looking into making money from this rebate program and just wants rapid adoption of its brand new technology. When I originally shared my thoughts about the potential impact of the Sony full-frame mirrorless system on Nikon and Canon sales, a number of our readers criticized me for what I wrote and argued that there was no threat for the big two. Well, judging by what I hear so far in terms of sales and adoption, even among our readers, Sony is doing really well. And seeing how the Nikon D610 got a $100 off just after a month of its launch tells me that Nikon is definitely adjusting its pricing in response and Canon is pretty much doing the same with its 6D line. As Sony continues to expand its market share, I am sure we will be seeing price drops across the industry from all manufacturers. This is definitely good for us photographers, since healthy competition is always a good thing that drives innovation and decreases prices. With mirrorless having less components and bulk than a DSLR, it will be an interesting battle to watch for the next few years.
Just wanted to post a quick reminder that the Nikon and Canon Lens and Speedlight rebates will be expiring in just two days and will not come back, probably till the holiday season at the end of the year. Nikon has already extended its rebate program until the end of March and with the end of the tax season, it will also end the rebates. As you may already know, there are two types of rebates taking place right now – lens-only rebates and camera combo rebates. I won’t go over these rebates in detail and provide my recommendations, because I have already done that in the previous article.
Many travel and landscape photographers, including myself, try to avoid shooting scenery with a clear blue sky. As much as we like seeing puffy or stormy clouds to spice up our photographs, we have no control over what the nature provides each day. Sometimes we get lucky and capture beautiful sunrises and sunsets with blood red skies, and other times we are stuck with a clear, boring sky. When I find myself in such a situation and I know that the next morning will be clear, I sometimes explore opportunities to photograph the stars and the Milky Way at night. I am sure you have been in situations where you got out at night in a remote location and saw an incredibly beautiful night sky with millions of stars shining right at you, with patches of stars in a “cloudy” formation that are a part of the Milky Way. If you do not know how to photograph the night sky and the Milky Way, this guide might help you in understanding the basics.
After I posted my last article comparing the high ISO performance of the Nikon D4s vs D4, a number of our readers requested that I provide a similar comparison with other cameras such as the Nikon D600/D610, D800 and Df. Instead of posting multiple articles that show these comparisons, I decided to put it all into a single article, so that our readers could look at the side by side comparisons, or download the files to their computers for closer examination. Before you start comparing the below images, however, I would like to point out that the images are just provided as a reference, and only represent one side of the camera performance – high ISO in low-light, indoor conditions. Each camera comes with its own set of features, strengths and weaknesses, so please do not draw conclusions from these shots. Please note that ISO performance might vary in different lighting conditions. My recommendation would be to read the comment exchange I had with Brad Hill of Natural Art Images in the previous Nikon D4s vs D4 comparison article, where we discuss the topic of comparing sensor performance in detail.