Having been primarily shooting with the Nikon D810 ever since the camera was announced (which as of today is my primary camera for most types of photography I am engaged in), I have been compiling a list of features that I would like to see on the upcoming Nikon D820, so I decided to share this list with our readers. My goal with this article is not only to share my list of most wanted features, but also to potentially expand it based on the feedback I get from other D800/D800E/D810 shooters out there. Once we put together a list of highly desirable and realistic / implementable features, I am planning to send a letter to Nikon to request the features to be incorporated into the future design of the camera. I think as a large community of Nikon shooters, we should do our best to reach out to Nikon directly and put in our requests, so that the company knows what its dedicated user base expects from the future generations of their cameras.
Canon’s newest 5D Mark IV camera has a lot of exciting specifications — the fast frame rate and 4K video capabilities, for example — but there is more to this camera than what first meets the eye. One new feature buried in Canon’s promotional material is a technology called Dual Pixel RAW. This isn’t something that we have seen before, but it seems like it could be one of the most interesting features of this new camera. So, what is Dual-Pixel RAW?
If you are buying your first DSLR camera, the available options that are out there can be pretty overwhelming. In this article, I’d like to walk you through the important similarities and differences between a few of Canon’s entry level DSLR cameras, currently the Canon EOS Rebel SL1/100D, Canon EOS Rebel T5/1200D, Canon EOS Rebel T5i/700D and Canon EOS Rebel T6i/750D. While this won’t be an in-depth technical review, it will be a practical, hands on review that should give you enough information to make an informed decision about which of these cameras will work the best for your current needs.
Suppose you have read somewhere that the dynamic range of your camera at a certain ISO setting is 11 stops. And here comes the immediate question – how can one use such a treasure to its full potential? Optimal exposure for RAW is the answer. But now we need to explain what we mean when we say, “optimal exposure for RAW”. Let’s start with one of the problems, which arises as a result of non-optimal exposure for RAW. Here is a typical wide dynamic range low-light scene. According to Sekonic spot-meter, it is wider than 11 stops:
There are very few decisions in photography more personal than picking a set of lenses to use. With the incredible number of options available – no matter which brand of camera you use – it can seem impossible to find the right lenses for your needs. Personally, I have switched out my entire lens kit at least four times in the past four years, and many photographers have done so even more often than that! There are no perfect answers for someone looking for what lenses to buy, but I hope that the tips in this article can shed some light on some of the variables that you need to consider for a set of lenses, whether you use Nikon, Canon, Sony, or any other lens manufacturer.
I had a small break in my hectic schedule today and I used it to spend a bit of time at Bird Kingdom in Niagara Falls capturing some high ISO test images with my Nikon 1 J5. While I wouldn’t normally use ISO-6400 for all of my images purposely, I did so today at Bird Kingdom. As you look at the sample images some of the EXIF data will look quite strange in terms of using a high ISO setting along with a fairly fast shutter speed. These rather bizarre settings are simply products of the test conditions and my goal to purposely shoot at ISO-6400. [Read more…]
I got my Nikon D5 a week and a half ago and have been itching to try it out on some real world wildlife photography, but this time of year is tough for wildlife where I live and also the weather here has been insanely difficult the last week or so. This has really hampered my chances to try and get some photos with this new camera.
When using telephoto and macro lenses, it is often desirable to get tighter framing on a subject that is being photographed. There can be many reasons for wanting to make subjects appear larger in images, but the main reasons are typically related to enhancing composition, improving subject detail and increasing image resolution (particularly after extensive cropping). For example, photographing a bird with a short focal length lens from hundreds of feet away will result in the bird appearing very small and insignificant, with very little to no detail in the resulting image. But if the same bird is photographed at a closer distance or with a longer focal length telephoto lens, a lot more detail can be revealed about the bird. In addition, making the bird take a larger portion of the image can also enhance the image by reducing the amount of clutter surrounding the bird, allowing for a better overall composition. When conditions allow, it is possible to achieve tighter framing by simply walking closer to the subject or zooming in with a zoom lens. However, what if getting closer is not an option and one is already at the longest focal length of their lens? In such situations, a teleconverter can come into rescue. Teleconverters allow increasing the focal length of lenses by coupling with them and thus essentially magnifying the image, allowing for tighter framing of subjects. While teleconverters can be incredibly useful, they also have a few rather serious disadvantages that can lead to increased blur and loss of sharpness. Let’s take a look at what a teleconverter is and go over its advantages and disadvantages in more detail.
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.
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.