One of our readers, Rudiger Wolf, has done some pretty extensive research to decide on what camera system he wanted to settle on. In this article, he wanted to share his findings with our readers and hopefully make it easier for others to select the system based on their particular needs. When Rudiger sent me an email earlier last week and asked if it would be helpful to share his findings, I responded to him that it would surely be beneficial. Photography Life is all about sharing knowledge and helping others to make healthy choices, so I was thrilled to have the opportunity. Enjoy!
I have been working on testing the performance of the new Nikon D4s to compare it to the D4 and see what advancements in sensor technology and image processing pipeline Nikon delivered in the latest revision of the top-of-the-line camera. Designed for sports, news and wildlife photographers that often have challenging light conditions and demanding environments, the high-end camera line is supposed to feed the never-ending thirst for more pixels and better low-light performance. Does the Nikon D4s deliver better image quality than its predecessor? While we know that the resolution of both cameras stayed the same, the big question is whether Nikon was able to enhance the existing 16.2 MP sensor and perhaps use better software algorithms to decrease noise – and that’s what we are here to find out today.
Being at the right place at the right time is usually associated with happiness and success. But what happens when we are at the right place at the wrong time? Do we even know that this is the right place? And what if it turns out that it is the wrong place after all? But the right time!
Whoever loses his orientation over this thought will get a feeling for Robert Rutöd’s latest pictures. The Vienna-born photographer wandered for five years through Europe and has proven to be a keen observer with an often tragicomic view: The blind man who finds orientation by putting his stick in a tram track, the helpless swan that finds itself frozen to the vast stretch of ice, or the amputee operator of a shooting range set up in a ruined building. It gets macabre with the portraits of the Pope, Hitler and Mussolini decorating the labels of wine bottles.
I am sure by now you are all very tired of hearing about the Nikon D600. And I think it is about time we wrapped it up for the last time. This article has been maturing inside my head for a while now and the latest events in the interchangeable lens camera market, along with a couple of scandals that appeared on the news, have only pushed it forward. Only a short while ago I read a comment under the “Nikon D610 Does Not Have a Dust Issue” article left by one of our readers who quoted a response he received from Nikon Europe Support about Nikon D600 dust accumulation problems. Here is the response:
I hope the idea I have in my head for this wildlife photography series of articles turns out on paper the way I imagined it and you find some useful tips that will help you on your photographic journeys. This first part comprised of a number of tips will briefly touch on light, weather and lens \ focal length selection. Like in my other articles, I will start with a simple disclaimer: what I present here is what works for me and you have to find your own way to what ultimately makes you happy.
A number of our readers have been asking us for some information regarding the new Nikon 35mm f/1.8G FX lens, requesting a review and a comparison with the Sigma 35mm f/1.4 lens (see my in-depth review). While the review is definitely in the pipeline, I thought it would be nice to provide a preview of my observations so far, along with some image samples from my recent trips. At $600, the full-frame Nikkor 35mm f/1.8G is another “value” lens from Nikon when compared to its super expensive brother, the Nikon 35mm f/1.4G. It is $300 cheaper than the Sigma 35mm f/1.4, and both significantly smaller and lighter in comparison. So for those that are looking for a lightweight alternative to the Sigma 35mm f/1.4, the Nikon 35mm f/1.8G FX might be a great lens to buy. Let’s take a look at the lens in a little more detail.
My D7000, Nikkor 500mm and I have had some wonderful times together – the shots of a Peregrine chick jumping off the ledge for the first time, the yoga-stretching Osprey that made Audubon’s Top 100, and who can forget the Night Heron flying past with a baby alligator in it’s mouth. But like all relationships, it seemed the initial pizazz was fading. I began to notice how she had trouble staying focused and got noisy when I pushed an issue. Furthermore, with 190,000 clicks under her belt, well, let’s just say her shutter curtains were starting to droop a bit. It was time to move on, but don’t get me wrong, we’ll always be friends. Now I hate to admit it, but I’d been having an online affair with the new Nikkor 800mm for almost a year – I’d link over to her B&H page and run my finger gently around her buy now button. Oh how we teased each other… Then one day we went all the way.
Next week she was there in front of me, the ten pound, one ounce Nikkor 800mm f/5.6E FL ED VR OMG BFF. However, when I unpacked my new lens, it was obviously lacking a proper rear lens cap. How inconsiderate of Nikon not to include a D4s to keep the rear element clean. Nothing a few years of crippling debt couldn’t solve. I dusted off my backup credit card and a few days later the D4$ showed up. So without further ado, my first 29 hours testing the 800mm/D4$ combo for reach, handholding, buffer, burst rate, high ISO ability and general BIFiness.
Let’s start at the end of the day and half of testing – 800mm of reach allowed me to maintain a non-threatening distance from this Common Black-hawk posing in front of the moon sneaking through the clouds. 1/1250, f/6.3, ISO 2500, 800mm, D4s. I cut loose with some artistic experimentation with this – embrace the post-processing noise – it’s pretty much the last you’ll see in the article:
Although cloud storage prices have been continued to drop at impressive rates, they have remained out of reach for many serious amateurs and professional photographers who have accumulated years’ worth of image files. This has been particularly true for the purists among us who religiously shoot RAW and tend to create huge multi-layer Photoshop files. Improvements in DSLR sensor technology have also pushed file sizes upwards as well, with the majority of DSLRs now capable of producing 16MP to 36MP images.
I have always considered a cost effective rate for 1TB to be the juncture at which serious amateurs and professional photographers would consider backing-up their photo archives to the cloud. Google’s dramatic cloud storage price drop this week has finally reached this tipping point. As of today, storing 1TB of image files on Google Drive will cost $9.99/month. This is a huge announcement that will ripple across the photography community and cause many people to change their back-up strategy.
1) The Economics of Google Drive
$120/year (rounded) for storing 1TB of your images in the cloud may sound a bit expensive compared to a one-time purchase of a 1TB back-up drive for $70-$100. But you have to consider that one good flood, fire, hurricane, burglary, or power surge may wipe out both your primary and secondary drives. As I write this, I am staring at 5 external hard drives on my desktop. While hard drive technology has been getting more reliable over the years, I have found that on average, I have one hard drive go bad per year. And although my stepsons have a great time destroying the defunct drives with sledge hammers, I rarely look forward to restoring back-ups, buying additional drives, and other related challenges that can chew up quite a bit of time.
What do you do when you have two low-light kings, the Nikon D4s and the Zeiss Otus 55mm f/1.4? You take them for a night shoot of course! After receiving both for some testing / reviews, I took off to photograph Denver downtown at night. It was way past the sunset time, so I knew that I would only have street lights to illuminate my subjects. Since the Zeiss Otus is an insanely sharp lens wide open, I set its aperture to f/1.4 and only changed it a couple of times during the night in order to increase depth of field and ISO. Interestingly, at such a large aperture, I found myself often shooting at pretty low ISO levels – generally under ISO 3200. So it was nice to be able to push my shutter speeds as high as 1/400 for freezing motion:
It has been an incredibly busy week for us here at Photography Life – we shipped out over 1000 orders of the Sensor Gel Stick! I am happy to inform that we finally have some stock left for those that have not had a chance to order due to the previous back-order situation. We have been in short supply for over a month and although we did our best to inform our customers, some were quite unhappy about waiting so long for their order to ship. We sincerely apologize for this situation and we thank everyone for being very patient with us while we were doing everything we can to get the orders fulfilled as soon as possible. Going forward, we will do our best to manage the stock better.