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.
Without a doubt, the biggest surprise today is the announcement of the Nikon D500. Just like Nikon did it back in the day with the D3 and the D300, Nikon decided to release both the top-of-the-line D5 and the smaller DX version, the Nikon D500 on the same day. While we have been waiting for the flagship DX camera to appear for too long now (remember those D400 rumors?), Nikon finally decided to unleash the beast. The long-awaited Nikon D500 is finally here and it is promising to be damn good. It is surely Nikon’s best DX camera created to date, thanks to its amazing 153-point AF system (same as on the Nikon D5), 10 fps continuous shooting speed, 200 shot RAW image buffer, 4K UHD video recording capability, Bluetooth connectivity, 100% viewfinder coverage and 1.0x viewfinder magnification (more on that below). Sports and wildlife shooters will surely be attracted to this camera, since it is priced way lower than the D5, at $1,999 MSRP and offers many similar features. Let’s take a look at the D500 in more detail.
It is just the beginning of the year and we are already getting treated with some huge announcements, thanks to the CES show that is taking place in Las Vegas. One of the biggest and most anticipated announcements is surely Nikon’s flagship DSLR, the Nikon D5. Many sports and wildlife photographers have been waiting to see what kind of a beast Nikon would unveil in its new generation, top-of-the-line DSLR and it looks like the D5 is indeed a performance monster that sets a new benchmark in a number of ways. First, the AF system received a complete overhaul. While Nikon has been shipping a 51-point AF system since the original D3 series cameras (with tweaks in between), the new D5 literally triples that number to a staggering 153! That’s right, the brand new AF system will feature a total of 153 AF points, 99 of which will be cross-type. Compare that to the 15 cross type points we see on the current Nikon D4s and you will quickly realize just how huge that number really is. And for those who shoot with long lenses coupled with teleconverters, the number of focus points available to use at f/8 will be expanded from 11 to 15 AF points. That’s just the start – check out all the other impressive specifications of the new D5!
Many of our readers know how much we at PL love Samsung’s tiny SSD external drives. We have written a review of the Samsung T1 SSD device and praised it for its incredible performance, tiny form factor and its ability to add plenty of fast storage to laptops and devices like Apple’s iMac (see our recommendations on choosing an iMac). Today, Samsung announced a new line of portable SSD drives that provide up to 2 TB of storage. The new Samsung Portable SSD T3 drives will measure only 74x58x10.5mm and weigh just 51 grams, which makes them extremely portable – a perfect travel companion. With up to 450 MB/sec read and write speeds via USB 3.1 Type C interface, these cards will deliver exceptional performance, even for the most demanding applications.
To continue our “How was this picture taken?” series, I would like to invite our readers to analyze this photograph and try to figure out how it was made. It may not seem out-of-the-ordinary at first glance, but this was one of the most technically-difficult photographs I have ever taken. In fact, my post-processing was particularly interesting for this image, and I employed a technique that I have used only three or four other times in my life.
I never intended for it to be this long between the two articles, but life got in the way. I have been busy with trying to sell our photography at various fairs and craft shows, when you have a day job as well it ends up taking up all your spare time. I don’t like disclaimers or fine print, but here is mine: “What I do, works for me, the information here is designed to be honest from my perspective and maybe useful to some readers. Take from it what you can and find your own path along the way…”
It is the first day of the new 2016 year and I would like to wish a very happy New Year to our dear readers and our amazing team of writers at PL! May 2016 be a very prosperous, healthy, joyful and successful year for you and your family. I hope you realize your dreams and discover new goals worth pursuing in the New Year!
In this final installment to this series, I have chosen to discuss one of my favorite topics in photography: close-ups. My goals with this article are to provide a basic understanding of light and exposure when photographing a subject at close range, the rationale for exposure loss during magnification, and guidance on how to correct for this exposure loss. To illustrate these principles, I will share my own empiric observations, review the pertinent calculations that govern magnification and exposure loss compensation, and discuss select photographs that I have made at close range. Hopefully, this article will help beginning and advanced photographers grasp the physics of light at close range and take command and control of magnification and exposure compensation. Although I crafted this article from the framework of a photographer using traditional close-up and macro equipment (i.e., bellows, extension tubes), the use of an external light meter (i.e., non-TTL metering), and continuous lighting (e.g., natural light, lamps), the tenets and technical considerations for close-up exposure compensation are still relevant to those photographers who prefer automation, TTL metering, and electronic flash. Finally, I will wrap up the discussion by sharing some thoughts on the use of film as a tool for learning the visualization process.
I recently checked the shot count on my three Nikon 1 V2 bodies. Then I added up the number of photographs I’ve taken with Nikon 1 bodies like the V3 and J5 that I borrowed from Nikon Canada in order to write some reviews. I discovered that I’ve taken over 100,000 images with Nikon 1 gear since the late summer of 2013 when I bought my first V2. Hmmm…no wonder my shutter finger is sore from time to time.