When photographing landscapes and including a bright source of light like the Sun, we often end up getting quite a bit of ghosting and flare in images. Although seeing lens flare is quite normal in both images and video (in fact, videographers and movie makers often purposefully add ghosting and flare to their footage to make the scene look more natural), sometimes the effect can heavily harm images. Since every lens reacts differently to bright sources of light, with some having special coatings and optical optimizations in place to reduce such effects, the effect of ghosting and flare and its damage are not something that can be easily predicted – there are too many variables involved, like focal length, optical design, coating, light source angle and even dust within the lens. So what do you do when you have a beautiful sunrise / sunset moment and you want to capture it with the sun in the frame without traces of ghosting / flare? I have been using a “finger the sun” technique for many years and today I want to explain how this technique works and how you can use it to create stunning, dramatic landscape images.
A couple of days ago Fujifilm finally announced its long-awaited flagship camera, the Fuji X-Pro2. I have been personally waiting for this to happen for a while, because the X-Pro1 has been out for way too long – 4 years, which is a huge stretch of time if you consider how quickly the mirrorless market has been moving in the past few years. I have just gotten back from my 3 week trip to Death Valley and while I have a lot of catching up to do, I did not want to miss on this important announcement. Being a proud owner of the superb Fuji X-T1, I have been wondering what Fuji would do with the X-Pro1 successor. The X-Pro2 is finally out and it looks like it was well worth the wait. While the overall design of the camera has not changed much, Fuji has made a lot of improvements to the interiors of the X-Pro2. With its brand new 24.3 MP X-Trans CMOS III sensor (highest resolution X-Trans sensor we have seen to date), pushing native ISO sensitivity by a full stop from ISO 200-6400 to 200-12800, an improved focal plane shutter capable of handling 1/8000 sec shutter speed (electronic shutter up to 1/32000 sec), 1/250 flash sync (finally!), a brand new Hybrid AF system with a whopping 273 focus points (77 phase detection points covering 40% of the frame) that promises to be Fuji’s fastest AF system to date, a fully weather-sealed camera construction, dual memory card slots (finally!) and an amazing hybrid viewfinder, the X-Pro2 looks like a very serious tool for professionals. Although its pricing of $1,699 might not sound particularly attractive, Fuji has never been a cheap brand in the first place and it has been known to make attractive, functional and enjoyable cameras that many photographers are willing to pay a premium price for.
I love Death Valley. Despite its name, it is one of the most stunning places on this planet to visit, enjoy and photograph. While I have been to many areas of the park, every time I visit, I find something new to explore. Since my first visit to Death Valley back in 2009, one place that really got me hooked was Zabriskie Point. Thanks to its vivid colors, delicate shapes and beautiful contours, it is truly a magical place to be. However, in spite of my continuous attempts to capture the place in its grande beauty, I have been constantly treated with bland blue skies, overcast days and whenever I got even a hint of color, it would always seem to be taking place elsewhere – not in the direction where my camera was pointed at. By now, I lost count of how many times I have attempted to photograph Zabriskie Point at sunrise (my guess is over 20), it really has been a place of zero luck for me, my archenemy.
Without a doubt, the Nikon D5 and D500 DSLR announcements have been the center of attention in the photography world this week, probably similar to the impact the Nikon D3 and D300 had back in 2007. The Nikon D5, in particular, is certainly something many sports and wildlife photographers have been waiting for. Thanks to the brand new autofocus system with a whopping 153 focus points, better focusing capabilities in low light, expanded native ISO range, brand new 180,000 pixel metering sensor, faster processor, 12 fps continuous shooting speed and many other tweaks and updates, the Nikon D5 was definitely worth the wait. For many, it will surely be a serious tool to consider moving up to. Let’s take a look at how the Nikon D5 fares against the Nikon D4s and see what advantages it brings in comparison. More details on the camera will be provided in our upcoming Nikon D5 review.
Before the D500 announcement, Nikon’s best DX camera for sports and wildlife photography has been the D7200. While the D7200 is a superb camera on its own, one might be wondering how and where exactly it differs when compared directly to the new Nikon D500. The quick answer to that question is enthusiast-level DSLR vs professional-level DSLR, but there is obviously a bit more than that to talk about. Let’s take a look at both cameras and see how they differ when it comes to ergonomics and specifications.
I am currently in Death Valley NP, shooting with a bunch of new gear including the Nikon 24-70mm f/2.8E VR, so I wanted to provide my early thoughts on this lens. Some of our readers sent me concerned emails, asking what I think about the 24-70mm f/2.8E VR, since apparently some others were quite unimpressed with this lens, even putting it into the category of “one of the worst lens releases of 2015”. I am not sure where these statements come from (sadly, my Internet connection here is really bad), but based on two samples of the Nikkor 24-70mm f/2.8E VR that I currently have access to, the new updated version seems to be an absolute gem. Based on my limited time pixel-peeping some of the images I have captured so far, it seems like Nikon has optimized the new 24-70mm differently when compared to its predecessor.
If you are interested in purchasing the newly announced Nikon D500, D5 or the SB-5000 speedlight, you can support Photography Life by purchasing through the below links. Please note that these are hot products, so the pre-order line is probably going to get huge pretty fast!
The new Nikon D500 surely looks amazing and very promising – much more exciting than the new Nikon D5 in my opinion, which is surely impressive, especially for those who need such a high-end tool. While we have written about the standard specifications of the D500 and its amazing features, like its 153 point AF system and its practically unlimited buffer, there are a few other hidden features that come in the Nikon D500, which are certainly worth looking into. Let’s take a look at these in more detail.
How does the newly released Nikon D500 flagship DX camera compare to Canon’s APS-C counterpart, the 7D Mark II? Canon was first to release its high-end sports camera over a year ago and it reigned supreme for a while, since Nikon had no equivalent product to compete with. Things have surely changed now, since the D500 is finally that long-awaited direct competitor to the 7D Mark II. This means that we can now compare these cameras directly and see which one is a better candidate for sports and wildlife photography. In this comparison, we will take a look at the specifications of the two cameras and see what their similarities and differences are. We will provide real performance differences, along with high ISO comparisons in our upcoming Nikon D500 review.
With the long-awaited and much-anticipated Nikon D500 out, one might be wondering how it compares to its predecessor, the Nikon D300S. Since there has been such a huge delay between the releases, it is a given that the D500 is a much better and more advanced camera. However, how much do these cameras differ really when we look at their specifications and what has changed in the last 7 years? Let’s take a look and see in this Nikon D500 vs D300S comparison.