And for those who are interested in the newly announced Nikon D810A, below you will find some sample images from the camera. Please keep in mind that aside from the last photo, all sample images were taken as composites with multiple images, then put together via special stitching software for astrophotography. That’s why EXIF data is not present in these images. As usual, you can download images to your computer to see a full-sized version.
It has only been 8 months since Nikon announced the D810 and today the company announced a very specialized camera for astrophotographers, the Nikon D810A. In essence, the D810A is pretty much identical to the existing D810 – the camera has exactly the same body build, ergonomics, sensor, etc. What has changed is the filter stack in front of the sensor, which contains a modified infrared filter that is more sensitive to super low light emitted by the stars and nebulas (specifically, the hydrogen alpha wavelength). In addition, Nikon implemented additional shutter speeds (4, 5, 8, 10, 15, 20, 30, 60, 120, 180, 240, 300, 600 and 900 seconds) to give more flexibility for astrophotography needs. While the announcement is certainly big for astrophotographers, because it is world’s first full-frame astrophotography DSLR camera, I do have a few concerns about this particular release. Having done a bit of research in astrophotography last year (my primary interest was in deep space object photography using specialized mounts and CCD sensors), I learned a little bit about the tools and what’s needed.
Adobe has been enjoying their place in the software industry for a very long time now. It’s a monopoly, isn’t it? Despite the effort made by Corel, DxO, PhaseOne and others, the benchmark is still Photoshop and Lightroom (even if the latter does not actually lead in every area). In fact, Photoshop has actually become a synonym to the word “post-process” or “edit”. “To photoshop something”, how many times have you heard someone say it? Exactly. And all of this is well deserved, because there simply isn’t any better alternatives. But for us, the users, monopoly is not such a good thing. Lack of proper competition puts the developer in a rather lazy state. Fortunately, an alternative might be in the works, called Affinity Photo (currently in Beta stage). Unfortunately, it is only available for Mac at this time.
Let’s be completely honest – other than style, leather half-cases for mirrorless cameras serve just about no purpose. It really is all about style – not protection, not ergonomic improvement, none of that. Any change in those areas is, more often than not, unintentional. A side effect. So, when talking about such an accessory, what matters most is design and quality of the product. One is only ever going to pay good money for an accessory that’s not actually that practical or sensible to own if it looks great and is made with utmost precision. Gariz, a small Korean camera accessory manufacturer few have even heard of, has its hands full, so to speak.
If you live in a warm sub-tropical or tropical climate, or holiday in one, you’ve likely seen many small lizards scurrying about and you may have tried to photograph them. Often times this is not as easy as it first appears as these small critters tend to be quite skittish and can disappear in a blink of an eye. In addition, they tend to be quite small so unless you can get close enough to them these lizards can end up as minor subjects in your overall image.
As you may have already noticed, we have been experimenting with advertising here at Photography Life over the weekend. After several days of trying out Google’s advertising, we decided to settle on a few locations on the website and we have now pretty much settled on showing advertising on the sidebar and the main content area of the page. While we have tried to do our best to make ads as unobtrusive as possible, our old-time readers who have been enjoying the ad-free environment for so many years might get a bit annoyed and might wonder why we had to resort to introducing advertising on this site. Unfortunately, it all has to do with our rising costs.
I recently returned from a vacation in Cuba during which I had the opportunity to photograph a few different species of heron using my Nikon 1 V2 and Nikon 1 CX 70-300 f/4.5-5.6 telephoto zoom lens. I ended up photographing birds hand-held for about 7-8 hours every day and my Nikon 1 gear proved to be an ideal combination to take with me as it was very light and easy to handle, and I avoided the fatigue that can set in when using larger, heavier gear.
If you are wondering about how images look from the newly announced Canon 5DS and 5DS R DSLR cameras, below you will find the official image samples from Canon USA for both cameras. Let’s take a look at the 5DS images first (apologies for wrong orientation on vertical images – our system could not properly handle orientation on such large files):
Do you remember how it used to be with brand and third-party lens manufacturers? Brand lenses were always the high-performers, in all senses of the word. Well built, reliable and great from an optical standpoint. Third-party lenses lacked somewhat in those areas (unless you count such legendary manufacturers as Zeiss), but made up for it with very low price and niche lenses you could not find anywhere else. In recent years, however, the situation has been changing and quite drastically. Tamron 24-70mm f/2.8 VC came out. Sigma 85mm f/1.4 HSM did, too. And the 35mm f/1.4 HSM. And the 18-35mm f/1.8 HSM zoom for APS-C cameras. Need I go on? All of these lenses proved to be well built and very good optically. There is no exaggeration in saying they gave some brand lenses a good beating. So if third-party lenses started doing the “brand” thing, how should Canon, Nikon and the like answer? Well, witness this – Canon has just announced a new lens. It is an ultra wide-angle zoom with focal length range of 11-24mm and maximum aperture of f/4 throughout the range. It is designed for full-frame DSLR cameras and there is nothing else quite like it on the market.
It has been exactly three years since Nikon debuted its high resolution 36.3 MP D800 and D800E cameras in February of 2012. At the time of announcement, Nikon’s highest resolution camera was the super expensive D3X with a 24.5 MP sensor, while the similar class D700 only had a 12.1 MP sensor. So for many, going from either 12.1 MP or 24.5 MP to 36.3 MP on full frame represented a huge jump in resolution. The cameras were truly groundbreaking, thanks to their superb performance, low noise levels and stunning dynamic range. Although Nikon faced a number of issues with quality control in the beginning, particularly when it came to calibrating the autofocus system for the new high resolution cameras, the Nikon D800 / D800E took the market by storm and quickly became Nikon’s best selling professional cameras. For three long years Canon failed to offer a true high resolution competitor, while Nikon already went through another iteration of the 36 MP line with the Nikon D810 camera. This angered many Canon shooters who wanted to get a high resolution camera that offered similar performance benefits and a much wider dynamic range than what Canon had on its existing cameras. The wait is now over, because Canon has just announced record breaking super high resolution 50.6 MP Canon EOS 5DS and EOS 5DS R full-frame DSLR cameras. Canon decided not to just bring out a competitor, but hit Nikon hard with something better in terms of resolution.