TOKYO – Following on the heels of the revolutionary Nikon DF, the Nikon Corporation is pleased to announce the fashionable DFB – the Burberry Edition, a Nikon FX digital SLR camera. The stylish DFB literally screams “Do more with less, but look sharp while doing it!” The DFB features the beloved 12.1 MP sensor from the Nikon D3 and D700. The file sizes produced by the DFB will be a welcome relief to those who demand smaller file sizes and less photographic detail, and are genuinely concerned about conserving hard drive space.
No, I don’t have the specs for the D400 (should it ever be more than a vapor-camera) but after reading many “Df compared to” articles, I was thinking about what Nikon’s sales would be if they produced a D400 instead of the Df. I am going to go against Nasim and Roman’s love affair with the new Nikon Df and say that I don’t care much for it. Sure, it is cool looking, but otherwise? I made the comment to Nasim and later to Bob (who might feel as I do) that it doesn’t do much for me. Roman concluded in summary of his Df vs D610 article that you buy the Df with your heart and so it may be that I am heartless. When it comes to the Nikon Df vs the mythical D400, which would Nikon be better off producing?
Like any event photographer, most of my wedding shots are of people, i.e. the bride, the groom and their guests. This, after all, is what a wedding is all about and what people mainly want to see when they open a wedding photo album. Weddings, though, are always packed full of other visual details besides the people. So much time is spent in preparation to make a wedding look beautiful that it would be a shame not to preserve some of this in the album. I find that sometimes the best way to achieve this is to make these details the subjects of some of my photographs, even if this means leaving people out of some shots completely.
Efficient time management is a major factor in a successful wedding shoot, and it can be difficult to capture all the shots you require across the day. That’s why I always endeavour to turn up early. I do this partly because it affords me the opportunity to walk around the venue – both inside and outside – and assess the lighting conditions on the day. However, it also gives me the chance to get some photos of the building itself and perhaps some of the decorations, flower arrangements and so on before any of the guests have arrived.
Of course, often we are asked to take photos of the bride, groom or both getting ready for the wedding. If this is in a hotel or other location far from the venue, it may be difficult to find time to turn up early and capture these detail shots. If so, don’t worry, there will be plenty of other opportunities. Try to spot details and photograph them across the day, and perhaps steal a bit of time at an opportune moment. An ideal opportunity is usually during the meal; most people don’t want to be photographed when they’re eating, so I take the chance to have a walk around the building and its exterior to grab some extra shots.
Here are a few examples of the finer details at some of the more recent weddings I’ve shot. You’ll notice that none of these photos feature people as their subject.
The Venue and Location
What was the weather like on the day? What did the venue look like? Where did the wedding take place? These questions can be answered by taking some photos from outside the venue. Wide angle landscape shots that take in the whole scene can certainly play a role here, particularly if the wedding is in an especially picturesque setting. However, don’t just restrict yourself to landscapes. This is all about capturing the fine details of the day, so try to photograph some of these with a normal or telephoto lens too.
Try to consider: is there anything unusual about the location; any distinguishing features that are worth capturing? Also remember that it’s often possible to have some fun with these photos, especially if the wedding is in a quirky location.
DSLR cameras by design have some inherent flaws and limitations. Part of it has to do with the fact that SLR cameras were initially developed for film. When digital evolved, it was treated just like film and was housed in the same mechanical body. Aside from the circuitry required for a digital sensor and other electronics, new digital film media and the back LCD, the rest of the SLR components did not change. Same mechanical mirror, same pentaprism / optical viewfinder, same phase detection system for autofocus operation. While new technological advances eventually led to extending of features of these cameras (In-camera editing, HDR, GPS, WiFi, etc), DSLRs continued to stay bulky for a couple of reasons. First, the mirror inside DSLR cameras had to be the same in size as the digital sensor, taking up plenty of space. Second, the pentaprism that converts vertical rays to horizontal in the viewfinder also had to match the size of the mirror, making the top portion of DSLRs bulky.
Today Adobe announced the availability of Lightroom 5.3 and Camera RAW 8.3 release candidates. A number of bugs that were present in Lightroom 5.2 were fixed, and new camera and lens profiles have been added. No new features have been added, so this is mostly a camera / lens update + bugfix release. For those that recently purchased the Nikon D610, this release provides full RAW support for the camera! Other new cameras that are supported include the Nikon D5300, Nikon 1 AW1, Fuji X-E2, Olympus OM-D E-M1, Sony A7 and Sony A7R.
Camera and Lens Support
Here is the list of newly supported camera models:
- Canon PowerShot S120
- Fujifilm XQ1
- Fujifilm X-E2
- Nikon 1 AW1
- Nikon Coolpix P7800
- Nikon D610
- Nikon D5300 (*)
- Olympus OM-D E-M1
- Olympus STYLUS 1 (*)
- Panasonic DMC-GM1
- Phase One IQ260
- Phase One IQ280
- Sony A7 (ILCE-7)
- Sony A7R (ILCE-7R)
- Sony DSC-RX10 (*)
Some photographers oppose the idea of using flash or light modifiers. Sometimes because it does not suit their style, sometimes because they do not feel comfortable using flash in first place. While we as photographers often love the feel of soft, natural light, knowing how to utilize artificial light can be of tremendous value in low-light environments. Not to mention that such knowledge and being ready to overcome challenging tasks in pretty much any environment can boost confidence and give peace of mind when working in the field. In this article, I would like to go over situations when flash should be used and how it can work to our advantage. I divided this article into indoor and outdoor photography to make it easy for everyone to follow. Please feel free to add your use cases in the comments section below. Please note that I am not going over the basics of flash photography here – the article assumes that you understand the relationship of flash with ISO, Shutter Speed and Aperture.
1.1) Lighting Ballrooms, Churches, Wedding / Corporate Reception Areas
As a working professional, one should have at least the basic lighting plan to be able to capture the day with ease. High-end DSLRs may be flexible enough to capture images in poorly lit environments, but it is a game of compromises. If light levels are too low, you will have to deal with blurry images due to motion blur / camera shake, or you will have to increase ISO level too high, which obviously increases noise, messes up colors and greatly reduces dynamic range. In short, you are leaving very few options for post-processing. In order to avoid that and potentially reduce your post-processing time and other headaches, why not use flash instead? You can start out with a simple configuration, with flash mounted on your camera, or you could get more creative and use flash in an off-camera setup to make images appear more dramatic and well-balanced.
Thanks to your support, we will be publishing a lot more reviews of the old Nikkor classics that we either purchased on auction sites, or loaned from our readers. This is a review of a true classic, the Nikon NIKKOR-H Auto 28mm f/3.5 (Ai modified), which was manufactured way back in 1959. One of our readers, Joe Ridley, was kind enough to send a number of Nikkor classics, and this lens is the first one that we are reviewing. Please note that such reviews of classic lenses will be limited to one page, with a small number of image samples. Still, full lab measurements will be performed on each lens for thorough analysis and comparisons.
1) Overview and Specifications
The NIKKOR-H Auto 28mm f/3.5 is one of the earliest, Pre-Ai Nikkor manual focus wide angle lenses for the F mount. Initially launched in 1959, this lens went through several iterations overtime with slightly different optical designs. The lens is available in various auction sites including eBay, but an Ai-converted version is really hard to come by. If you do decide to purchase one, you have to get the lens Ai-converted to properly mount on modern DSLRs. If you do not do this, you risk damaging your DSLR, since the non-Ai version could either break the metering tab / lever on the lens mount, or could get stuck on the mount and potentially cause other damage.
In this article, Patrick Downs is providing very useful portrait photography tips to our readers, sharing his experience and beautiful images that he has taken as a professional photographer. As a photojournalist for 25 years and shooting for much longer, I may have a different or expanded definition of what a portrait is, and what it takes to produce them. There are genres of portraiture, of course, such as: editorial, corporate, commercial/retail, documentary or candid, and illustrative portraits. With some you exercise almost no control (e.g., William Albert Allard), and with others almost total control (e.g., Annie Leibovitz). There is no right or wrong answer … the photographer chooses their style! There are many photographers whose portraits I love, and not all of them are pure portrait photographers. Allard is a documentary photographer, but his found portraits are wonderful. Annie L. imposes her will on her subjects, but the results are fascinating and something I’d love to be able to do. If I were to pick my top 3 pure portraitists, it might be Arnold Newman, Gregory Heisler, and Annie L, in no special order. I went back and read my Arnold Newman’s “One Mind’s Eye” the other day, and was struck by how many of his images don’t use “perfect” light by today’s standards, but so many are amazing. This one, of Igor Stravinsky, is still one of the most brilliant photo portraits ever taken, I think. It’s interesting to know that Greg Heisler was one of Newman’s last assistants.
I have (too many) other favorite portraitists, for sure: Albert Watson, Mark Seliger, Mary Ellen Mark, Helmut Newton, Irving Penn, Avedon, Art Streiber, Dan Winter, Peter Yang, Brad Trent, and photojournalist Joe McNally, who is really a great generalist. I know I’m forgetting many.
Our affiliates B&H and Adorama are already accepting pre-orders for the Nikon Df. Here are the links for the body-only and body+lens options:
Nikon Df Pre-Order Information
B&H Photo Video:
- Click here to pre-order the black/silver Nikon DF camera body + Special Edition Nikkor AF-S 50mm f/1.8G lens for $2,996.95 from B&H
- Click here to pre-order the black/silver Nikon DF camera body only for $2,746.95 from B&H
- Click here to pre-order the black Nikon DF camera body + Special Edition Nikkor AF-S 50mm f/1.8G lens for $2,996.95 from B&H
- Click here to pre-order the black Nikon DF camera body only for $2,746.95 from B&H
- Click here to pre-order the Special Edition Nikkor AF-S 50mm f/1.8G lens separately for $279.95 from B&H
There is no doubt that the new Nikon Df camera is very similar to the D600/D610 duo, as we’ve already seen from the comparison. From a price stand-point, however, Df is dangerously close to the popular and extremely capable Nikon D800 model (see our very detailed review). Can the Nikon Df back up its price premium when compared to its bigger brother? Analyzing on-paper specifications of both cameras should give a pretty good idea, although you might find the ISO performance comparisons in this article quite useful to make your own conclusions.
Keep in mind, please, that this comparison is based strictly on specifications and image quality. A camera is often more than a sum of its parts, and that stands true for both Nikon Df and D800.