I received an email from Adobe’s marketing staff today, which basically says that for a limited time, Adobe is now dropping eligibility requirements for its Adobe Creative Cloud Photography Bundle, which goes for $9.99 per month and includes Photoshop and Lightroom. This basically means that you do not have to prove ownership of any Adobe product in order to qualify for the $9.99 per month pricing. As you might already know, the photography bundle started back in September. Since the launch price of $20 per month for each application was too steep for many creative professionals and hobbyists, Adobe’s initially projected goal was not met. So in a desperate measure to increase the number of subscribers, Adobe dropped the price down to $9.99 per month, but with one condition – one had to prove ownership of CS3 or later in order to qualify. While it sounded like a good deal, many were ticked off when they found out that their particular version was not eligible for the photography bundle deal. Now Adobe is in yet another desperate mode to increase the number of subscribers, so it has dropped this requirement completely.
Photographic photo papers are designed to produce a high quality image in an effort to best reproduce the photographed object. How good or bad the paper is at meeting this objective will depend on the type of printer, type of ink and of course the subject of this guide; the type of photo paper. In this guide we will explain the various considerations to take into account when evaluating your options.
Inkjet Vs. Laser Photo Paper
The mostly widely adopted technology by the professional printing community is the Inkjet printer technology. Laser printing is able to outperforming Inkjet printing in terms of speed, but it lacks the accuracy that high quality photographs require. Laser uses melted powder-like substance in CMYK colours, while Inkjet uses the same colours though liquid ink form that are delivered to the paper by means of small jets (hence Ink-Jet). This method of printing can achieve 2880Dpi vs. 720Dpi commonly found in laser printers. Therefore from here on, the various parameters for choosing photo paper will refer to the Inkjet type.
If you are deciding on whether to purchase a camera or lens, I would hold off until next week. As you know, Black Friday is a big day in the US, so we are expecting all major brands including Nikon and Canon to have some killer rebates and instant savings on all kinds of camera gear. As before, our “Current Deals” page will be updated frequently during the holidays. If anything special comes out with a fast time limit, we will post it on the main page.
Nikon will be running a similar “buy together and save” instant rebate program as before, but the list of lenses and cameras will be extensive (yes, the new Nikon Df will be included). As far as I know, up to $300 off will be offered on lenses, some of which are lower-end! So rebates will be very attractive, especially if you stack lenses (you can buy as many lenses as you want, as long as you include a single camera). And I am expecting B&H to be adding those extra 2-4% savings on top of all these again.
Even just a few hours ago, I was once again asked by a reader what lenses do I use most for my wedding photography. The answer is and always has been the same for my wedding, family or general photography needs – a classic fifty. I am sure hardly anyone will find this at all surprising, because fast 50mm fixed focal length lenses have become a legend of sorts. Ask any photographer and he will tell you – that is one of the two most versatile fixed focal length lenses you can buy (the other being a 35mm lens). It is time we back up that claim with actual photographs, and plenty of them. Is there a single reason for it being so versatile? No. Rather, it is a combination of various characteristics and generally pleasing manner of “drawing” the photograph that, even today with all the amazing zoom lenses, makes it such a sought-after lens.
Naturally, the Nikkor AF-S 50mm f/1.4G is not the only lens I own and use, but I really do feel this particular focal length deserves a separate article just to show how truly special it is. I adore it. More than that, my warm feelings towards such a lens are not dictated by raw technical characteristics, rather how much it resonates with the way I previsualize my work. And that is why, instead of boring you to death with technicalities, I will gladly let photographs do most of the talking for a change.
There is one camera manufacturer that we’ve not paid much attention to here at Photography Life. For some reason, Samsung, despite its efforts to gain traction for its NX interchangeable lens camera system, failed to make enough impact to be mentioned as a worthy contender next to Sony, Olympus, Fujifilm and other mirrorless cameras. Whatever the reason for lack of popularity is, Samsung has only one option to make an impact – differentiate itself from the rest. And, judging by recent product launches, it would seem their differentiating strategy might be… Android OS.
Let me start off this hands-on review of the Nikon 1 V2 with a reminder that no one camera can do everything that an owner may require. Regardless of the price paid, every piece of equipment comes with compromises. And, so it is with the Nikon 1 V2. I should also state upfront that I shoot more client videos with my Nikon gear than I do still photographs, so this review does contain a reasonable amount of evaluation from a video perspective.
Nasim has already provided a list of Nikon 1 V2 specifications and compared them to the previous model, the Nikon 1 V1. For those of you who would like to see a detailed comparison between the two, it can be found here.
2) The challenges and advantages of a CX sensor
The Nikon 1 V2 has a small 1” CX sensor. This gives the camera some inherent challenges when using it in real-life situations such as more noise at higher ISOs, somewhat limited dynamic range, and difficulty in achieving shallow depth-of-field. Some people are quite negative about the V2 because of its sensor size and immediately dismiss it as a ‘toy’. This is very unfortunate because the Nikon 1 V2 does have some wonderful capabilities and I believe it should have a place in the bags of many professional photographers.
Many of our readers expressed interest in buying the Sensor Gel Stick and I am happy to say that our first batch of these wonder-sticks have arrived earlier this week. For now, it is a pretty small batch, but we are planning to order more as soon as possible. Please note that we are only taking orders for the first 70 units right now – once we run out, you will have to wait for a few weeks before you will be able to order again. I set up the system so that it does not allow taking more than the first 70 orders, so it is basically done on a first come first serve basis.
UPDATE: All Sold Out! Please wait for the next shipment – we will let you know as soon as we receive more.
To access the product page where you can order the sensor gel stick from, click here. You can also access the page through the “Shop” link on the top of the page. Once you place your order, you will be able to view its status and receive notifications when the product ships.
A while ago, I posted a detailed article about a very defined pattern of red dots / artifacts that I saw on the Fuji X-series cameras when shooting against the sun. This was the first time I encountered such a problem, so without fully researching the issue and understanding the real cause, I wrongfully blamed the Fuji X-trans system for creating those patterns (my sincere apologies to all the Fuji fans!). A couple of our readers pointed me to some other links on the Internet that show a similar issue on different camera systems from Sony, Panasonic, Olympus and a number of others. The pattern indeed seemed to be quite similar between those and what I saw on Fuji cameras. I then decided to take my Olympus OM-D E-M5 camera for a side-by-side comparison and see if I could reproduce the issue on it as well. Now that I have done enough research to understand the root cause of this problem, I will not only explain the red dot phenomenon in detail, but also show image samples from two different mirrorless systems to illustrate the point.
The red dot patterns can be quite frustrating to see in images. Although this particular phenomenon only happens when the light source is very intense and the lens aperture is small, one would still probably wonder what causes it to happen and how one could minimize or even eliminate it. Before I talk about those things, let me first demonstrate that the red dot flare issue is not related to a particular camera or a lens. When shot in the same conditions, pretty much every modern mirrorless camera will show this and even our DSLRs are potentially prone to the same problems, as discussed below. Take a look at the following image taken by the Fuji X-Pro1 camera and the Fujinon XF 14mm f/2.8 lens at f/22:
We are back again at reviewing some of the lens classics and this time we have the Nikon NIKKOR-S Auto 50mm f/1.4 (Ai modified), which was first manufactured way back in 1962. One of our readers, Joe Ridley, was kind enough to send a number of Nikkor classics, and this lens is the second one that we are reviewing. Nikon has made so many different 50mm lenses its in 80 years of optical history, that the list of just 50mm lenses can get quite overwhelming. Many of us look at the modern 50mm primes without realizing that among all manufacturers, Nikon has the longest history of making these lenses. In fact, the very first Nikkor 5cm lens was made in 1937 specifically for Canon rangefinder cameras! And it is also worth pointing out that Nikon invented the very first 50mm f/1.4 lens after the World War II. This particular NIKKOR-S classic was designed for Nikon’s rangefinder cameras. Today, it is hard to find a converted version that works on modern DSLRs (mostly non-Ai versions), but you can snatch one for about $50 and get it converted for another $20-30. Or if you bought the new Nikon Df, you will be able to use this lens without having to convert it!
1) Overview and Specifications
The NIKKOR-S Auto 50mm f/1.4 is one of the early, Pre-Ai Nikkor manual focus wide angle lenses for the F mount. With its standard focal length of 50mm, the lens was designed as a general-purpose lens on early manual focus rangefinder cameras like Nikon S2 and S3, although its fast maximum aperture of f/1.4 also made it very suitable for low-light situations (especially on B/W film). With 7 optical elements in 5 groups, the NIKKOR-H 50mm f/1.4 has a simpler optical design than the new Nikon 50mm f/1.8G. However, similar to some of the old Nikkor classics, this lens is not about top notch sharpness and rich features. Its corner vignetting, beautiful bokeh and a boatload of optical imperfections is what gives the lens a certain “character” that is so hard to find on modern lenses. As one of our readers pointed out, it is interesting that some people try to imitate such imperfections in post-processing today, because their lenses are so sharp and corrected. Still, despite all its flaws, the lens can produce excellent sharpness results even on some of the best DSLRs like Nikon D800E, once stopped down to f/2.8 and smaller, as demonstrated further down in the review.
A number of our readers have been asking our team about our recommendations on different mirrorless cameras. With so many different options on the market today, choosing a mirrorless camera can get very confusing. In the new series of articles, we will compare all the options on the market today starting from entry-level, mid-level to high-end. In this particular article, I would like to start off by comparing mirrorless camera systems that are available today from different manufacturers. This below charts will be updated periodically with new / updated information. Please note that the below comparisons are only for mirrorless interchangeable lens cameras. Discontinued systems such as Pentax K-01 and Ricoh GXR are not included. The list is sorted alphabetically and had to be split into two parts to fit. Also, please keep in mind that some of the benchmarks presented in this article are very subjective, based on our prior experience using the cameras.
|Mirrorless Systems #1||Canon EOS M||Fujifilm XF||Leica M||Nikon 1||Olympus M43|
|* Denotes PL Subjective Rating|
|Lens Mount||Canon EF-M||Fuji X||Leica M||Nikon 1||Micro 4/3|
|Announcement Date||Oct 2012||Jan 2012||Mar 2004||Oct 2011||Jun 2009|
|Sensor Size (Diagonal)||26.8mm||28.3mm||43.0mm||15.9mm||21.7mm|
|Autofocus Speed *||3||4||N/A||5||5|
|Native Lenses Available||3||10||26||11||16|
|Third Party Lenses||3||7||39||0||33|
|Total Lenses Available||6||17||65||11||49|
|System Compactness *||3||3||3||4||5|
|Image Quality *||4||5||5||3||4|
|Top Model (Manuf. Link)||Canon EOS M||Fuji X-Pro1||Leica M||Nikon 1 V2||OM-D E-M1|
|Top Model Price (B&H)||$339||$1,199||$6,950||$796||$1,399|