Today-only, SanDisk is offering huge savings on SD, MicroSD and SSD drives on Amazon USA. These are significant savings, particularly on SanDisk’s excellent Extreme-series SD cards of 32 GB, 64 GB and 128 GB capacities. These cards are rated at 90 MB/sec read speeds and are suitable for both stills and video (up to 4K Ultra HD video). Savings range from $37 on the 32 GB card (bringing the price down to a mere $12.99) all the way to $155 on the 128 GB, which is currently on sale for $44.99.
For many years, Nikon has been limiting affordable super telephoto zoom lenses above 300mm to the 80-400mm VR lens, while keeping its high-end super telephoto line of zoom and prime lenses available only for those with deep pockets. With Tamron and Sigma pushing great budget-friendly 150-600mm options, Nikon finally decided to release its first constant-aperture super telephoto zoom competitor in August of 2015. Specifically designed for beginner and enthusiast wildlife / sports photographers, the new Nikkor 200-500mm f/5.6E ED VR became the first hand-holdable Nikon lens to reach 500mm at a relatively low price point of $1,399. This offering, coupled with the upcoming Nikon D500 DSLR (see our D500 announcement post) makes a killer combination for action photography. With an equivalent field of view of 300-750mm and the capability to shoot fast action at up to 10 frames per second on the D500, the Nikon 200-500mm f/5.6E VR is definitely going to become one of the most popular lenses in Nikon’s lens line-up, thanks to its versatility and reach. Although our team at Photography Life has not had a chance to test this particular combination due to unavailability of the D500 in the US, we have been actively using the lens on camera bodies like the Nikon D7200, D750, D810 and D4S for this particular review. We are planning to write a follow-up article covering the use of the lens on the Nikon D500, once we get our hands on the camera. Meanwhile, please enjoy the review of the Nikon 200-500mm VR lens, along with comparisons to Tamron 150-600mm VC, Sigma 150-600mm C / Sport and Nikon 80-400mm VR lenses.
Nikon is bringing back its lens-only rebates in the USA again and this time we have some very nice options, including the Nikkor 20mm f/1.8G, 85mm f/1.8G, 18-35mm f/3.5-4.5G and 70-200mm f/4G VR lenses getting some nice discounts, with higher-end lenses like the 14-24mm f/2.8G ED and 70-200mm f/2.8G VR II getting $200 off. In addition to these lens-only rebates, Nikon also has the “Buy Together and Save” program going on, where you can get additional discounts when purchasing a camera body.
We are excited to announce our 2016 Colorado Fall Colors Workshops taking place in one of the most picturesque locations in the world, in the San Juan Mountains of Colorado! This is the workshop that we have been conducting every year for the past 5 years and we are happy to do it again this fall. Just like last year, we will have two different groups, one from September 23-26 and one from September 28-October 1, both spanning a total of 4 days. Get ready to learn a lot, shoot a lot and enjoy quality time with like-minded people that share your passion! The workshops are limited to a total of 10 spots per group and since it usually sells out within 24 hours, we would recommend to register as soon as possible!
UPDATE: Only 2 spots left!
Ricoh has just posted image samples from its upcoming Pentax K-1 DSLR (see our announcement post for details). Although all of the images were shot at ISO 100 and we are yet to see high ISO image samples, the 36 MP sensor on the K-1 seems to be very similar to that of the Nikon D810 in terms of image quality and color reproduction, which is superb. At $1800, the Pentax K-1 represents phenomenal value, not only because of the sensor alone, but also because of the different technologies packed into the camera body. The “Pixel Shift” capability, in particular, deserves a lot of attention, because the camera is capable of moving its sensor in order to capture all the colors that a typical Bayer sensor is incapable of capturing in a single shot. As a result, one can get results previously only possible when shooting with a medium format camera in terms of extreme detail. This kind of technology is disruptive, because it is innovation we have previously not seen from any full-frame camera.
While photographing famous landmarks and photo spots is usually a safe way to obtain a beautiful photograph, being able to scout and find own subject to photograph is a skill that many of us have to acquire at some point. Identifying good light, finding the right angle for proper framing and composition, pre-visualizing the end result and using the right tool for the job in order to create a unique and compelling image takes years of practice in the field. This is the area that many of us, including myself, struggle with the most. Despite the difficulties and the challenges, it is important to keep on advancing the “photographer’s eye”. Sometimes we look at a beautiful image and really like it, but have a hard time understanding exactly what in particular attracts us to it. Is it the beautiful light, the composition or the subject itself? An untrained eye often sees certain elements of an image, while neglecting to see other, equally important elements that make an image successful. Being able to see and visualize all the minute details in order to properly execute a photograph is something we all need to continuously work on, because those details really do matter. Personally, I find great help in “dissecting” a solid photograph, to try to understand what kind of thought process and work went into making it. During this process, I pay close attention to everything from light, framing, composition, colors, subject, area of focus and other details, so that I can apply that knowledge in the field. In this article, I would like to present a landscape image that I recently captured in Joshua Tree National Park and go through the process of unveiling everything that went into making this image.
Please note that the below article is compiled from some of the chapters from our upcoming eBook “Creative Landscape Photography” that Spencer Cox and I are currently working on. This will be our first eBook, specifically written on the subjects of Light, Vision and Composition when photographing landscapes.
This week I have been heavily working on keeping our lens database up to date. With so many lens announcements coming out from different manufacturers, keeping the database current has been a challenge, since it takes quite a bit of time to add all the relevant information. Big thanks to everyone who has been sending feedback, requests and recommendations to improve our lens database. We want to make it the best and the most complete database in the world and everything we build today will be hugely beneficial for current and future readers of the site. This is why we need your help today! By letting us know about the missing lenses, errors and inconsistencies, you will be joining our efforts in compiling a great source of public information. But before that, let me first shed some light on some of the changes that we have made to the database.
Courtesy of Dell, I received the latest version of the Dell XPS 13 Notebook a couple of days ago. Although I have not spent much time with the machine yet to be able to write my initial thoughts, I have already installed the latest versions of both Lightroom and Photoshop. Both ran just fine together, something I have not been able to do very successfully with my Surface Pro 3. The main reason is RAM – my Surface Pro 3 only has 8 GB of RAM, whereas the XPS 13 has 16 GB. In addition, the XPS 13 has the latest generation Skylake CPU (mine came with a powerful Intel Core i7 CPU), which also sports a faster Intel GPU, so I expect it to be faster at doing everything. Lastly, the machine has a whopping 1 TB of fast PCIe storage, which means that I don’t have to constantly carry an external hard drive with me, since its local storage is sufficient for most of my needs when traveling. Hence, I expect the XPS 13 to be a much superior machine for post-processing work when working in the field.
The first issue I have noticed so far is the power plug – unfortunately, Dell has not changed it for a while now, so it is still the same old power plug that goes on the side of the machine. I wish Dell engineers came up with a better designed power plug, so that it could attach to the machine simpler, perhaps with a magnetic connection like on the Surface Pro. This way, if one were to unintentionally stomp on the cable, it does not bring the machine down with it. In fact, it would be even sweeter if someone came up with a way to charge laptops from each side! How many times do you catch yourself moving around just to accommodate the direction of the power cable? I know such a design would take more space, but it would be really convenient. Another potential issue is lack of an HDMI output. Looks like Dell wants its XPS 13 users to purchase an optional accessory to be able to output HDMI from the laptop, which is not that big of a deal, as long as the accessory works well. Still, some people might not like the idea of carrying another accessory and cables in their bags.
A definite plus I see is the availability of two USB ports and a Thunderbolt port. Yes, you heard that right – this little puppy has a Thunderbolt port on its side! I have not seen many PCs with it, which is definitely new, but welcome, since the number of Thunderbolt devices on the market is increasing dramatically. With the ability to transfer up to 40 Gbps, Thunderbolt is a pretty sweet option to put on any machine, let alone a compact travel laptop. And by the way, if you have a monitor with a Thunderbolt port, you should be able to output video without the third party accessory. I cannot verify this 100% yet, but hoping to be able to find out by the time I do the review.
I am planning to travel with the XPS 13 extensively in the next 3-4 months, so expect a review fairly soon. As before, I will be providing benchmark data and comparisons with a number of Microsoft Surface Pro alternatives, as requested by our readers.
One of the most exciting news from today is Sigma’s announcement of the 50-100mm f/1.8 DC HSM Art lens designed for APS-C sensor cameras like the Nikon D500. That’s another f/1.8 constant aperture zoom lens from Sigma with a groundbreaking design! With an equivalent field of view of 75-150mm, this lens will surely be a popular choice among sports and portrait photographers, especially when working in low-light situations. Thanks to the complex optical design that incorporates 21 elements in 15 groups, the Sigma 50-100mm f/1.8 DC HSM Art is optimized to yield excellent sharpness at its widest aperture throughout its zoom range. And with its MSRP of $1,099, this looks like a killer offering for cropped sensor cameras. The only downside is its weight – at 1,490 g (3.28 lb), the lens is almost as heavy as the Nikon 70-200mm f/2.8G VR II! But what did you expect from a constant aperture f/1.8 telephoto zoom lens?