Today we want to move your attention from photography matters and enjoy this short film called “How The Sun Sees You”. After watching this film by Thomas Leveritt, I smiled so hard my cheeks still hurt. I very much hope yours will hurt even more!
An in-depth Nikon D810 review with sample images, high ISO tests and detailed real-life analysis
Some of our readers have been asking about the performance of the Sigma 50mm f/1.4 Art lens on the Nikon D810, particularly about its autofocus […]
We are continuing our coverage of the Nikon D810 and today we want to talk about the capability of the D810 to photograph wildlife, particularly […]
Talking to Tadas Kazakevičius (in case you are having a hard time spelling that, he’s just as well known as Ted Kozak), a young Lithuanian […]
Engagement sessions are a big hit with couples and photographers. Almost all couples agree for a session before the wedding, so engagement photography has pretty […]
I know, I know, the 50mm again. There isn’t much more for me to add really. The attributes of this focal length have been lauded many times in many articles, including on this site. A (usually) cheap and light prime, very sharp with a fast aperture and beautiful bokeh. A useful portrait length on APS-C sensors (75mm – 80mm equivalent field of view), and on full frame it’s supposedly close to how the human eye sees (don’t know about you, but my human eyes see the almost 180 degrees stereoscopic vision they were designed for). Still, the 50mm is often claimed as a classic and an essential addition to our kit.
As you may already know, the difference between the Nikon D800E and D800 is their filter stacks – the D800E has the same size stack as the D800, but its third filter reverses the effect of the first one, essentially cancelling out the effect of the optical low pass filter. This is clearly illustrated in the below image, which compares the two filter stacks side by side:
Just wanted to share this photo of the Waning Gibbous Moon with our readers, captured with the Nikon D810 and John “Verm” Sherman’s amazing Nikkor 800mm f/5.6E VR monster coupled with the TC-17E II teleconverter. I have not been able to get this much detail from such long focal lengths before, because the shutter vibration on previous generation Nikon DSLRs would shake the camera too much at the beginning of the exposure. We set everything up on a sturdy tripod, then rest the front of the lens on car’s hood, with a soft pillow in between to dampen the crazy vibrations occuring at 1350mm focal length. Set the camera to Manual mode, ISO 800, 1/250s @ f/11, then used camera’s Live View to acquire perfect focus on the moon. With the “Electronic front-curtain shutter” turned ON, we set the camera to Mirror Lock-Up mode, set “Exposure delay mode” to 3 seconds for additional protection, then fired away. Here is the result:
Some of our readers have been asking about the performance of the Sigma 50mm f/1.4 Art lens on the Nikon D810, particularly about its autofocus speed and accuracy, especially in low light situations. Lola and I recently shot a wedding with this combo and I had a chance to test out the lens in various conditions – from broad daylight to very dim indoor environments. In this article, I want to talk about my experience with the lens and talk about its pros and cons when using it with the Nikon D810.
As you saw from our review of the Profoto B1, we were very impressed by the capabilities of this portable, battery powered flash head. At the time we wrote the review, the Profoto B1 was only compatible with Canon TTL and support for Nikon TTL was supposed to be announced later. Well, the wait is almost over, because Profoto announced the Air Remote TTL-N for Nikon, with expected availability on September 15, 2014.
The majority of my videography and photography work is with industrial clients, and I almost always find myself shooting onsite in warehouses, factories, and other indoor venues. In many of the buildings in which I shoot, lighting can consist of a mix of technologies such as high intensity discharge (metal halide, high pressure sodium, mercury vapour, low pressure sodium), fluorescent, and LED. To further complicate things sometimes facilities have had physical expansions and specific parts of a building can be illuminated by a mix of lighting sources. Rather than pull out the few, remaining hairs I have left on my head when having to deal with all of these variables, I try to simplify my shooting by bringing my studio lights with me and creating as much wide angle, controlled light as possible.
Walking around with my camera, particularly in the city, I inevitably spot many people like myself taking photos, sometimes solitary, sometimes not. Occasionally you bump into a friendly or chatty one, but many are somewhat aloof, guarded and in world of their own. Perhaps they are fully immersed in their craft, or perhaps they don’t feel confident in sharing their photography with total strangers.
While working hard on reviewing the Nikon D810 DSLR, we are doing our best to continue providing detailed coverage about the camera and its capabilities to our readers. Although we have been very happy with the improvements we see on the D810 (which does deserve high praises for its overall performance), we have identified one issue that probably needs Nikon’s attention sooner than later – the D810 seems to have a thermal noise issue when shooting very long exposures. In certain conditions, the camera seems to be produce very fine grain at low ISOs (even base ISO) that should not be there. Although most photographers probably will not notice it, those that photograph the night sky, architecture, waterfalls and seashores at exposures longer than 20 seconds surely will. The grain appears to be of different color and spread, which means that what we see in images are essentially hot pixels. Please note that these hot pixels are not of the same permanent kind discussed in this article – these hot pixels appear as a result of heat and they appear in different locations of the frame. Although such “thermal” pixels are very common in digital camera sensors and are supposed to show up when shooting long exposures, camera manufacturers usually clean them up, whether you shoot in RAW or JPEG format. This clean up happens in the image processing pipeline, before RAW and JPEG files are generated.
Just wanted to let our readers know that the Sensor Gel Stick for Sony cameras is now available in limited stock. We have already shipped our first batch of pre-orders and now we are ready to accept more orders. We apologize for being a bit late on delivering the product – the manufacturer had some unexpected delays and could not ship the goods our way on time. We are almost out of the regular version of the Sensor Gel Stick as well, hoping to get a new batch within the next 2 weeks. So if you need to clean your sensor, we would recommend to do it sooner than later before the stock completely runs out again.