Nikon vs Canon vs Sony

I have been getting a lot of questions from our readers about whether they should pick a particular camera from Nikon, Canon, Sony, Pentax or some other manufacturer. These inquiries are only increasing over time, so I decided to post an article on what I think about different camera systems and why you should go with a particular brand versus others. Many of the questions are something like “should I go for Nikon D5000 or Canon 1000D” or similar, with readers asking me to tell them why I would recommend or pick a certain brand/type of a camera over another. When it comes to the question of Nikon vs Canon vs Sony, there are lots of heated debates over the Internet, so I wanted to share my personal thought on this subject matter as well.

As you know, I have been mainly writing about Nikon – simply because pretty much all of my gear is from Nikon and it is the system of choice for me. Why don’t I shoot Canon or Sony? Is Nikon superior than these brands? No, not really. Read on to understand why.

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How to Find Total Shutter Actuations on Nikon and Canon DSLRs

During the last several weeks, I have received several requests from our readers about finding the total number of shutter actuations on their DSLRs. I decided to write a short article on how you can find the total shutter actuations on both Nikon and Canon DSLRs, in case you are interested in seeing how much you have been using your camera or how close your shutter speed is to the manufacturers’ rated shutter life of 150,000 (on most entry and mid-level cameras) or 300,000 (professional cameras).

1) EXIF Data

The information on the total shutter actuations on your camera is preserved in file headers, known as “metadata” or “EXIF”. If you do not know what EXIF is and what it is used for, check out my “What is EXIF” article that I wrote a while ago. Basically, your camera writes all exposure-related information such as date, time, shutter speed, aperture, ISO and a bunch of other important information into the header of each file. Some camera manufacturers like Nikon and Canon also add unique shutter actuations data fields that are used for seeing the total number of exposures or “shutter actuations” cameras have.

2) Switch to JPEG format

If you are shooting RAW, it is best to switch to JPEG format just for getting the required information from your camera. While the camera native RAW format preserves all of the EXIF information that is coming out of the camera, third party conversion software like Adobe Photoshop Lightroom can strip out some of the proprietary EXIF data, including the number of shutter actuations. Therefore, switching to JPEG will allow you to view EXIF data straight, without having to import the image into Lightroom or Photoshop first. It doesn’t matter what size of JPEG files you choose – even JPEG BASIC works fine. Once selected, take a picture of anything you want.

3) Download EXIF viewer

In order to view the proprietary EXIF information from files, you need to use an image EXIF viewer that does not strip out anything from the file. Unfortunately, almost all current image viewers only display generic EXIF data that most people use and ignore the rest. Instead of properly reading EXIF data from files and then parsing the results, they typically just look for generic EXIF tags within the file and display them when they are available. If something is not available, it stays blank. To reduce the number of blank items to the minimum, they only provide generic information that is more or less standardized across most camera manufacturers.

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Nikon D300s vs Canon 50D High ISO Noise Comparison

This article is to primarily show the key differences between the Nikon D300/D300s and Canon 50D and provide information on high ISO performance above ISO 800. While there is a significant difference in both features and price between these cameras, in this Nikon D300s vs Canon 50D comparison, I will primarily focus on low-light performance between these two cameras.

Major differences between the two cameras

  1. Sensor Resolution – Nikon D300/D300s is 12.3 Megapixels (4288 x 2848) while Canon 50D is 15.1 Megapixels (4752 x 3168).
  2. Pixel Pitch – Nikon D300s is 5.49 microns and Canon 50D is 4.7 microns.
  3. Crop factor – All Nikon APS-C (DX) sensors have a crop factor of 1.5x, while all Canon APS-C sensors have a crop factor of 1.6x.
  4. Autofocus focus points – Nikon D300/D300s has the same professional autofocus system as in Nikon D3/D3s/D3x with a total of 51 focus points, while the Canon 50D has a much inferior 9 focus point system.
  5. ISO – Both cameras can handle up to ISO 3200 in native mode. Nikon D300/D300s can be boosted to ISO 6,400, while Canon 50D can go up to ISO 12,800.
  6. Wireless flash master – Nikon D300/D300s has a built-in flash that can be used as a master flash to control other Nikon flashes, while Canon 50D does not have such feature.
  7. Exposure compensation – Most Nikon cameras can handle -5 to +5 EV, while Canon 50D can only handle -2 to +2 EV.
  8. Frames per second – very similar performance between the cameras. Nikon D300 is 6 FPS, Nikon D300s is 7 FPS and Canon 50D is 6.3 FPS. With the MB-D10 battery pack both Nikon D300 and D300s can shoot 8 frames per second.
  9. Movie mode – Nikon D300s can handle 720p video and Canon 50D has no video support.
  10. Viewfinder coverage – 100% on Nikon D300/D300s and 95% on Canon 50D (pentaprism on both).
  11. Weight – Canon 50D is lighter (730g) than Nikon D300/D300s (840g).
  12. Custom Functions – 25 on Canon 50D and 48 on Nikon D300/D300s.
  13. Price – Canon 50D is currently selling for $925 at B&H and Nikon D300s is $1,519.

High ISO Comparison

Let’s move on to high ISO tests for both Nikon D300s and Canon 50D. Here is what I photographed for this test:

Sample

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Nikon 16-35mm f/4.0G VR vs Canon 17-40mm f/4.0L USM

I will be honest – doing a comparison between the Nikon 16-35mm f/4.0G VR and the Canon 17-40mm f/4.0L USM was somewhat painful. First of all, the DSLR bodies that I was using did not have the same megapixel count (Nikon D300 is 12 Mp and Canon 50D is 15 Mp) and crop factor (Nikon D300 is 1.5x and Canon 50D is 1.6x). Achieving the same field of view and having similarly sized 100% crops for accurate testing and comparison was extremely difficult and I had to move my setup back and forth to get to a similar size. Even then, I was not able to get the results I wanted in the corners, so I will be focusing more on center performance rather than corners.

The image on the left is Nikon 16-35mm and the image on the right is Canon 17-35mm. Both were shot in RAW with no post-processing in Lightroom besides adjusting white balance.

Let’s take a look at the far corners @ 17mm f/4.0:

Nikon 16-35mm @ 17mm Far Left Corner Canon 17-40mm @ 17mm f/4.0 Far Left Corner

The Nikon 16-35mm clearly has both sharper image and better contrast in the corners.

Let’s now take a look at the center @ 17mm f/4.0 where I was able to match the view:

Nikon 16-35mm @ 17mm f/4.0 Center Canon 17-40mm @ 17mm f/4.0 Center

As can be clearly seen, Nikon 16-35mm f/4.0 VR is significantly sharper than Canon 17-40mm f/4.0. When compared at f/8.0 both lenses are very similar in terms of sharpness and contrast. Now let’s see the performance @ 24mm f/4.0:

Nikon 16-35mm @ 24mm f/4.0 Center Canon 17-40mm @ 24mm f/4.0 Center

Again, Nikon 16-35mm is the clear winner, delivering more sharpness wide open.

The final test is both lenses at 35mm:

Nikon 16-35mm @ 35mm f/4.0 Center Canon 17-40mm @ 35mm f/4.0 Center

As expected, there is no change – the Nikon 16-35mm f/4.0 is sharper than Canon 17-40mm f/4.0 @ f/4.0 across all focal lengths.

I did not bother uploading the images at other apertures, because both lenses perform very similarly at f/5.6 and higher and at f/8.0 there is practically no difference between them. The above test is to show that the Nikon 16-35mm is sharper than its counterpart Canon 17-40mm when shot wide open both in the center and in the corners.

The above has been posted to the Nikon 16-35mm f/4.0 Review on the fifth page.

How to Photograph Corporate Portraits

I have been getting many requests lately to write an article on corporate portrait photography, after my last corporate event photography tips article that I wrote a few weeks ago. Photographing employees for corporate websites and magazine articles is very different from corporate event photography – it is similar to photographing a portrait in a professional studio. Obviously, the atmosphere is different, lighting is different and the gear you use is also very different. You must be equipped with portable lighting equipment that you can assemble and disassemble in minutes. In this article, I will go through the different types of corporate portrait photography and what you can do to get the best possible results with the least amount of money spent on gear and lighting equipment.

Corporate Portrait

Corporate Portrait

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Must-Have DSLR Accessories

Every photographer has a toolbox of camera accessories that are heavily used for photography. While some photographers have a large array of accessories for every type of situation and need, others only buy what they feel is necessity for their photography work. In this article, I will provide some detailed information about what accessories should be in every photographer’s bag – I call it a “must-have” list.

1) A good camera bag

As soon as you buy a camera, you buy a camera bag, because you want to protect your investment and easily transport it between locations. But choosing the right camera bag is not always easy – there are so many different bags out there, that it gets frustratingly difficult to make the right decision. Often times, people end up buying a small camera bag, only to replace it in a couple of months with a different one, realizing that they need more room for their camera and lenses. This happens all the time and it also happened to me! I got my first Nikon D80 DSLR, thinking that I wouldn’t spend a penny more on an already expensive camera. I bought a compact camera bag that fits the camera and a couple of lenses and thought that I was good to go. Eventually, I ended up buying another lens and extra accessories and my bag was too small to accommodate everything. So I had to go and buy another camera bag with more room. Instead of wasting your money like this, you should buy a good camera bag from the get-go. I personally prefer a backpack, but some people like the convenience of using sling-bags and shoulder bags. It is a personal preference and you should definitely try before you buy…a local camera store is a great place to start. My personal favorites are LowePro and Kata bags, specifically LowePro Pro Runner 300 AW and Kata 3 in 1 Sling Backpack.

Kata 3 in 1 Sling Backpack

Kata 3 in 1 Sling Backpack

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Canon EOS-1D Mark IV Autofocus vs Nikon D3s

Rob Galbraith, a well-known and respected photographer from Canada, has recently posted an article on autofocus performance of the new Canon EOS-1D Mark IV after using the camera for a while photographing various athletes that were preparing for the Vancouver 2010 Olympics. After weeks of shooting the camera, he compared the autofocus performance of the Canon EOS-1D Mark IV with the new Nikon D3s.

Here is a quick excerpt from his article:

It’s worth noting one other fundamental difference between the AF system in the D3S and that of the EOS-1D Mark IV. When Nikon focus is out, it doesn’t tend to be way out. More often than not, peak action frames that are not perfectly focused aren’t that blurry, making some of them still viable. That is, if you’re of a mind that it’s better to have a slightly soft frame of a great peak moment than a totally blurry one. The EOS-1D Mark IV, on the other hand, produces many more frames that are too soft to use for anything, no matter how sweet the moment.

To sum up, our experience with the D3S’ AF system is that it’s trustworthy and dependable enough for us to be confident using it for peak action sports. Not perfect: it needs to be a bit faster off the line, in addition to the other quibbles we’ve mentioned. But it does work as needed most of the time, which is in stark contrast to the experience of the EOS-1D Mark IV in the last month.

The above review is pretty much in line with what many other sports and action photographers have said after doing comparisons between the two cameras – the Nikon D3s is currently, without a doubt, a leader in both autofocus and low-light photography (high ISO performance).

When I looked at some sample pictures of the Canon EOS 1D Mark IV, I got a little worried about Nikon D3s future. However, after seeing some high ISO comparisons and hearing from pros on autofocus performance of both cameras, it turned out that D3s is the leader and it looks like it will stay that way for at least another two years! Sure, it is unfair to compare Nikon’s full frame sensor with a 1.3x cropped sensor, but poor autofocus performance has been Canon’s biggest weakness (especially in 1D Mark III) and despite the fact that Canon re-engineered their autofocus system from scratch in 1D Mark IV, it is still worse than Nikon’s legendary 51 point autofocus system.

Nikon D3s wins, end of story.

Understanding Metering and Metering Modes

Every modern DSLR has something called “Metering Mode”, also known as “Camera Metering”, “Exposure Metering” or simply “Metering”. Knowing how metering works and what each of the metering modes does is important in photography, because it helps photographers control their exposure with minimum effort and take better pictures in unusual lighting situations. In this understanding metering modes article, I will explain what metering is, how it works and how you can use it for your digital photography.

When I got my first DSLR (Nikon D80), one of my frustrations was that some images would come out too bright or too dark. I had no idea how to fix it, until one day, when I learned about camera metering modes.

1) What is Metering?

Metering is how your camera determines what the correct shutter speed and aperture should be, depending on the amount of light that goes into the camera and the sensitivity of the sensor. Back in the old days of photography, cameras were not equipped with a light “meter”, which is a sensor that measures the amount and intensity of light. Photographers had to use hand-held light meters to determine the optimal exposure. Obviously, because the work was shot on film, they could not preview or see the results immediately, which is why they religiously relied on those light meters.

Today, every DSLR has an integrated light meter that automatically measures the reflected light and determines the optimal exposure. The most common metering modes in digital cameras today are:

  1. Matrix Metering (Nikon), also known as Evaluative Metering (Canon)
  2. Center-weighted Metering
  3. Spot Metering (Nikon), also known as Partial Metering (Canon)

You can see the camera meter in action when you shoot in Manual Mode – look inside the viewfinder and you will see bars going left or right, with a zero in the middle, as illustrated below.

Nikon Viewfinder

Metering shown in Nikon Viewfinder

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Corporate Photography Tips

There are two types of corporate photography – event photography and portrait photography. Event photography means taking pictures of employees and guests in corporate events such as conferences, birthday parties, Christmas parties, receptions and sales events. Corporate portrait photography means taking formal pictures of employees for websites, magazines and other various publications. In this article, I will provide some tips on how to photograph corporate events.

Corporate Photography

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What is Bokeh?

Bokeh, also known as “Boke” is one of the most popular subjects in photography. The reason why it is so popular, is because Bokeh makes photographs visually appealing, forcing us to focus our attention on a particular area of the image. The word comes from Japanese language, which literally translates as “blur”.

Bokeh

Bokeh

1) What is Bokeh?

Basically, bokeh is the quality of out-of-focus or “blurry” parts of the image rendered by a camera lens – it is NOT the blur itself or the amount of blur in the foreground or the background of a subject. The blur that you are so used to seeing in photography that separates a subject from the background is the result of shallow “depth of field” and is generally simply called “background blur”. The quality and feel of the background/foreground blur and reflected points of light, however, is what photographers call Bokeh. Confused yet? Take a look at the following image:

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