Let’s talk about noise. Not the lovely Swedish lullaby my friend hums at me down the phone but digital noise in our photographic images. Most of us profess a serious allergy to it such that noise control has become a major USP for many camera models. One of the many features prospective buyers look for is noise control at higher ISOs. Models like the Nikon D4S and Sony A7s market themselves specifically as clean imaging devices, having listened to (preyed on?) the market’s feverish insecurities about the dreaded grain.
One of the most common knocks against the Nikon 1 product line has been its small CX sensor and its somewhat underwhelming dynamic range and colour depth performance. I wasn’t even mildly interested when I first read about the introduction of the Nikon 1 J5 as I initially assumed the camera would be using yet another Aptina sensor. Based on past experience this meant very little, if any, improvement in terms of sensor performance and image quality. After all, that had been the case with each successive S-series, J-series and V-series model that had been introduced. Since I don’t like using cameras without a viewfinder I just shrugged.
And I guess the follow-up question would be “Could Verm come up with a more provocative title?” To put you at ease, these sample pics are all saved at web resolution so you needn’t don eye protection. This last weekend I had the pleasure of shooting with the new AF-S Nikkor 500mm f/4E FL ED VR. Here are some quickie sample pics and comments from the first few days of shooting. There’s more to come as I’ll be doing in-depth field tests and comparing results with the “old” Nikkor 500mm.
Is it sharp? I’ll let this spike answer.
If you have read any of my previous articles, then you would know I have two Nikkor super telephoto lenses and I often use them in wildlife photography. I also often mention that reach is important in wildlife photography and getting highly detailed and crisp images. Two of the super telephoto lenses I have are the 600mm f/4 prime and the 800mm f/5.6 prime and they are amazing lenses that give me amazing reach for wildlife, but this reach can also be a problem when multiple eyes are involved (ie: several animals in same frame).
Lets take a look at a nightmare photo to get with a 600mm lens at optimal distance requiring minimal cropping:
I recently sold my D810 to get the Sony A7R II after it was announced by Sony, so I received it less than a week ago after ordering from Amazon. The specs were too tempting, especially with Nikon being somewhat stagnant in regards to innovation on the mirrorless front. Although I loved my D810 for landscape images, lugging the camera and tripod when going on vacation or hiking with a 20 month old child, has it’s challenges. The thoughts of a lighter set-up and the 5-axis image stabilization is what finally pushed me over; the 42MP BSI sensor was just the icing on the cake as I would have gone to Sony even if they stuck with 36MP.
Although discussing the topic of Nikon vs Canon can lead to unnecessarily long and emotional debates between photographers and I personally find such discussions silly, there are some distinct differences between the two systems that might be worth pointing out for those who consider investing into either system. Some of the differences are related to current technology and it might be a matter of time before either company catches up. For example, Nikon and Sony shooters often brag about the amazing dynamic range their cameras are capable of capturing, pointing out how bad Canon DSLRs look in comparison. And it is currently holds true – Canon has not done well in direct comparisons with other brands on the market, scoring consistently lower in dynamic range performance on each new iteration of its modern DSLRs. However, this is something that Canon could potentially address in the future with newer sensor technologies that provide greater dynamic range performance. On the other hand, other differences might not be possible to address. One such difference is the lens mount – both companies use mounts of different sizes. Which one is better and why? Let’s talk about the differences between the Nikon F and Canon EF mounts in detail.
This will just be a short article with my very first photograph taken with this wonderful lens and my first impressions. I have the 600mm f/4G VR and it has been an amazing lens for me and wildlife photography. I was worried when I bought the new lens as I really was in love with the old one and wasn’t sure if the new one would be as good. Obviously, I can’t evaluate and determine that in one day – I wish I could, but here is what I can share so far with you guys and gals.
It has been interesting to observe the debate about “DSLR vs mirrorless” unfold over the past while. I would agree with Bob Vishneski’s point in his recent article that if one is comparing full frame cameras, the weight difference alone between traditional DSLRs and mirrorless is negligible. And, that slight difference in weight is really not worth the trouble and cost to change over to mirrorless for the vast majority of photographers who use full frame gear.
I recently sold my full frame Nikon D800 and almost all of my FX glass (I only have two lenses left to sell) and I have transitioned over to a Panasonic GH4 M4/3 camera for all of my client work. I thought some readers may have interest in getting some insights behind this decision as they may be going through the same dilemma that I’ve been having for the past year or so.
It is hard to visit any photography website without noticing extensive fanfare being paid to the mirrorless camera niche. Some tout it as the savior of the mid-to-high end camera market. Others have dubbed it the “DSLR killer.” A number of prominent photographers have created videos and articles articulating how mirrorless innovations caused them to shed pounds from their bag and reintroduce them to the joy of photography. And why shouldn’t they? The market for traditional point-and-shoot cameras is in a free fall as smartphones increase in usage, quality, and capabilities. Traditional DSLR sales continue to fall as well. The industry certainly needs something to cheer about. And of course, photography websites need something to write about.
I am back from the mountains, after spending a couple of days testing the new Canon 5DS DSLR (see all 5DS / 5DS R related articles here) and waiting for the 5DS R to arrive. Both cameras, without a doubt, are highly anticipated by Canon shooters (and not only) and for a reason – with their insane 50.6 MP of resolution, these cameras will definitely satisfy any DSLR shooter’s resolution lust. These are the cameras that many Canon landscape, architecture, fashion and macro photographers have been waiting for, in response to Nikon’s and Sony’s high resolution cameras. Armed with Canon’s highly acclaimed EF 24-70mm f/2.8L II and the new EF 11-24mm f/4L lenses, I wanted to capture a few scenic areas of the San Juan Mountains of Colorado and see how the 5DS would perform with these lenses.