This is a review of the Novoflex Nikon to Canon Lens Adapter, also known as “Novoflex EOS/NIK-NT Lens Adapter”. This lens adapter is designed to be used specifically with Nikon G lenses that have no aperture rings. While most generic lens adapters can be easily used with older non-G Nikon lenses and you can easily control aperture by just rotating the aperture ring on the lens, there is no way to control aperture on all modern “G” type lenses with such an adapter. So if you used a generic lens adapter, you would be limited to shooting at minimum aperture of the lens (default) and there would be no physical way to adjust it while the lens is attached to the camera. To allow manual change of aperture on these types of lenses, Novoflex specifically designed an adapter with an aperture lever. In this review, I will talk about the pros and cons of using the Novoflex adapter and my overall experience with it when mounting Nikon lenses on Canon DSLRs.
While testing some Canon EF lenses on the Canon 5D Mark III, I decided to try to compare the lenses to the latest Nikon lenses and see how they perform side by side. First, my plan was to mount Nikon lenses on the D800 and Canon lenses on the 5D Mark III and look at images at 100% view, but then I realized that it would be tough to do a fair comparison, since the cameras are different. That’s when I thought about using Nikon lenses on a Canon DSLR with an adapter. I knew that it was possible, since some people love mounting the Nikon 14-24mm f/2.8G on Canon cameras. In this article, I will share my thoughts and experience on using Nikon lenses on Canon DSLRs.
Infrared, or “IR” photography, offers photographers of all abilities and budgets the opportunity to explore a new world – the world of the unseen. Why “unseen”? Because our eyes literally cannot see IR light, as it lies just beyond what is classified as the “visible” spectrum – that which human eyesight can detect. When we take photographs using infrared-equipped film or cameras, we are exposed to the world that can often look very different from that we are accustomed to seeing. Colors, textures, leaves and plants, human skin, and all other manner of objects can reflect IR light in unique and interesting ways, ones that cannot be mimicked with tools such as Photoshop (yes – there are limits to what Photoshop can do!). Like any form of photography or art however, it is a matter of taste. I would strongly urge people to explore the world of IR. As the number of cameras-equipped devices proliferates and the associated technologies improve, IR photography may offer the opportunity for photographers to expand into new arenas and differentiate their offerings from those of others.
I had an opportunity to photograph a local Taekwondo sparring event last weekend and I decided to share some of the photographs from the event, along with some photography tips and lessons learned. I have been involved in Taekwondo since I was 12 and while I spent many years taking part in this beautiful and highly energetic (and sometimes even brutal) sport, I never had a chance to photograph it. While I have been suffering from pneumonia during the last 2 weeks, I could not skip a Taekwondo sparring with some of the best athletes in Colorado. I got my daily doze of antibiotics, then quickly made a plan and took off.
In this quick article, I will talk about how to avoid moiré if your camera is not equipped with a low-pass / anti-aliasing filter, or if it has a special low-pass filter like the Nikon D800E that is also prone to moire. Moiré can be quite painful to deal with in post-processing, so it is best to avoid it in first place. Below you will find a list of steps you can take to avoid moiré while shooting patterns.
Another reader of ours, Frank Di Luzio, sent the below image that explains exactly why sensor dust is more visible at small apertures. While I have explained this phenomenon to some of our readers before (see the comment section), I have not had a chance to write a separate article with a proper illustration, demonstrating how aperture size affects the shape and size of dust particles. Thanks to our generous readers like Frank, I now do not have to do it, because the below illustration is perfect.
As camera manufacturers are continuing the megapixel race, with Sony releasing a bunch of 24 MP APS-C (1.5 crop-factor) cameras like Sony A77, A65 and NEX-7, and Nikon releasing a high resolution 36 MP Nikon D800, many of us photographers question the need for such a high resolution sensor. Some of us are happy while others are angry about these latest trends. Just when we thought companies like Nikon abandoned the megapixel race, instead of seeing other companies do the same, we now see Nikon back in the game with a new breed of product with a boatload of pixels. Why did Nikon all of a sudden decide to flip the game? Why does everyone seem to be going for more pixels rather than better low-light / high ISO performance? Does a high resolution sensor make sense? What are the true benefits of a high resolution sensor? In this article, I will provide my thoughts on what I think has happened with Nikon’s camera strategy, along with a few points on benefits of a high resolution sensor.
Moiré pattern occurs when a scene or an object that is being photographed contains repetitive details (such as lines, dots, etc) that exceed the sensor resolution. As a result, the camera produces a strange-looking wavy pattern as seen below:
A low-pass filter, also known as anti-aliasing or “blur” filter, was designed by camera manufacturers to eliminate the problem of moiré by blurring what actually reaches the sensor. While extreme details are lost in the process, the problem of moiré is completely resolved. Since most cameras are designed to be used for day-to-day photography, where moiré pattern is very common, most cameras on the market today use a low-pass / anti-aliasing filter.
Chromatic aberration, also known as “color fringing” or “purple fringing”, is a common optical problem that occurs when a lens is either unable to bring all wavelengths of color to the same focal plane, and/or when wavelengths of color are focused at different positions in the focal plane. Chromatic aberration is caused by lens dispersion, with different colors of light travelling at different speeds while passing through a lens. As a result, the image can look blurred or noticeable colored edges (red, green, blue, yellow, purple, magenta) can appear around objects, especially in high-contrast situations.