Summer is usually the season for air shows and that means yet another reason and opportunity to go out shooting. I had intended to visit the Farnborough Air Show this year but unfortunately an exhaust muffler decided to divorce itself from the underside of my car and reconciling the two became my whole day instead. Undoubtedly there’ll be other air shows for me to visit this summer but for now these images here are from previous shows, including the one at Farnborough.
B&H Photo Video is hosting a huge sale on the Nikon D610, D750 and D810 full-frame DSLRs. In addition to the current instant savings ($500 off D610 / D810 and $300 off D750), you will get a free battery grip with each camera (retail Nikon version, not a third party grip!), along with a third party battery (Watson EN-EL15), a SanDisk memory card and a Ruggard Commando 36 DSLR Shoulder bag (all worth up to $460 in savings). And lastly, you will also receive a 4% reward from B&H in a form of a gift card, which you will be able to apply towards future purchases.
I recently spent some time looking at CIPA data and wrote a few articles on my blog pertaining to these camera industry statistics. I thought Photography Life readers may find some of the data of interest. What follows are a few thoughts about the camera market, based on my interpretation of CIPA data. It should be noted that data is simply data and two people can look at the same information and arrive at differing interpretations. For folks who find the data of interest you can pop over to my blog to read a bit more. If you want to see the actual data reports I would encourage you to visit the CIPA website and access the data directly…then put on a pot of coffee, grab a calculator or open up Excel on your computer…and have some fun!
It is interesting how just a few years back, one way to spark a debate was to talk about Nikon vs Canon. Websites and forums would be filled with endless discussions when someone would dare to post something like “I dumped my Nikon gear and switched to Canon” (and God forbid if you said anything against Pentax, it would be a quick shortcut to get death threats). Today, it seems like the gears have changed – people are much less enthusiastic about talking about DSLR brand differences. The much bigger war it seems like is now between DSLR vs mirrorless. On one side of the fence, we’ve got DSLR shooters who defend their choice with statements like “you will only be able to take my DSLR when you pry it from my cold, dead hands” and on the other side of the fence, we now have people who say things like “mirrorless is the future, it is time for flapping mirrors to go”. Both sides have their points and arguments that make sense, but once mixed with emotions, such discussions often end up being inconclusive and meaningless. And now we have manufacturers engaging in direct attacks against each other. Sony, Fuji and a few others often compare their systems to DSLRs as part of their marketing campaigns, indicating weight / size and other advantages, whereas DSLR manufacturers keep recycling the same AF speed, reliability and system advantages. But one thing for sure – DSLRs are losing market share and interest in mirrorless technology is steadily growing. Let’s revisit the topic of DSLR vs mirrorless one more time and analyze a few more important factors.
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.
One of the biggest complaints we hear about from photographers today is lack of innovation by DSLR manufacturers. Given how far mirrorless cameras have gotten in the last few years with the electronic viewfinder (EVF) technology, it is a given that DSLRs are looking archaic in comparison, particularly when it comes to intelligent information overlays, manual focusing, focus peaking, EVF image playback and other important advancements that make mirrorless cameras not just joyful to use, but also very helpful in reducing focus issues. When using classic lenses such as the Noct 58mm f/1.2 on a DSLR, I personally find it quite frustrating that I have to switch to live view to try to nail focus with the camera at my arm’s length. Not only does that result in potential instability and undesired camera shake, but it takes me away from the optical viewfinder (OVF) and slows down the whole process. But what if there was a solution to the problem? What if DSLR manufacturers came up with a way to integrate an EVF into DSLRs and make both OVF and EVF possible? Sort of a “transitional DSLR” with both OVF and EVF capabilities. How cool would it be, if you could switch from an OVF to an EVF with just a single button? I have been thinking about this concept for a while and I think there is a way to implement this, if camera manufacturers are willing to be flexible and put some R&D resources towards such a project. It would certainly reduce the potential of mirrorless cameras taking a huge market share away from DSLR sales, which have only been declining in the past few years.
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.
12-bit image files can store up to 68 billion different shades of color. 14-bit image files store up to 4 trillion shades. That’s an enormous difference, so shouldn’t we always choose 14-bit when shooting RAW? Here’s a landscape I snapped, then found out later I had shot it in 12-bit RAW. Better toss this one out, right?
A few months ago we wrote an extensive article on sensor crop factors and equivalence. In that post we covered several topics: the history of the cropped-sensor formats, brightness of the scene, perspective, depth of field, noise and diffraction. In today’s post I want to focus on (if you’ll excuse the pun) and expand on two of these topics:
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):