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):
The choice of the first camera system is an exciting one. Why would it not be? You get to pick the first camera to buy, the first lens, and you spend so much time reading reviews, forums and asking friends for advice. I know I did – some eight years ago, I was admiring such cameras as the Canon 30D and 40D, and was seriously eyeing the 400D which was then within the budget of a teenager me. Nikon D200 looked out of this world and the then-announced D300 was a camera of dreams. All of these models, now obsolete from a technological standpoint (much like the D700 I now own and love), were as desirable as any current equipment you can think of. Maybe even more so, since the refresh cycle was longer and digital photography in general not as widespread as it is today.
Yes, the choice of the first camera and lens is a very exciting one. But, inevitably and at some point, a different question arises for just about all of us, and one much less pleasant – should you stick with your first decision or is the grass truly greener somewhere else?
Along with the exciting Nikkor 300mm f/4E PF ED VR, Nikon also announced a boring entry-level camera. After skipping the D5400 for no reason (Nikon marketing at its best), the D5500 was revealed at the CES with very similar specs as the D5300, except it gains a touchscreen and drops the GPS module. Same resolution, same processor, same fps, WiFi, same menu and features for the most part, except for slightly different design that resulted in a smaller and lighter camera. It seems like Nikon has no clue what else to add to the D5x00 line to make it more interesting and this release is one of those “announce to announce” series, yet another camera to add to the camera pollution just to keep the line fresh. Instead of doing something innovative (mirrorless design, EVF, focus peaking, electronic shutter, etc), Nikon adds a pointless touchscreen feature and gets rid of the far more important GPS component. With all this, Nikon increases the price of the D5500 by $100, pushing it towards $900 MSRP.
The subject of sensor crop factors and equivalence has become rather controversial between photographers, sparking heated debates on photography sites and forums. So much has been posted on this topic, that it almost feels redundant to write about it again. Sadly, with all the great and not-so-great information out there on equivalence, many photographers are only left more puzzled and confused. Thanks to so many different formats available today, including 1″/CX, Micro Four Thirds, APS-C, 35mm/Full Frame, Medium Format (in different sizes), photographers are comparing these systems by calculating their equivalent focal lengths, apertures, depth of field, camera to subject distances, hyperfocal distances and other technical jargon, to prove the inferiority or the superiority of one system over another. In this article, I want to bring up some of these points and express my subjective opinion on the matter. Recognizing that this topic is one of the never-ending debates with strong arguments from all sides, I do realize that some of our readers may disagree with my statements and arguments. So if you do disagree with what I say, please provide your opinion in a civilized manner in the comments section below.
Exactly after two years since the Nikon D4 announcement, Nikon made the D4s public at the 2014 Consumer Electronics Show (CES) on January 6, 2014. Although the camera was not ready for a full announcement, Nikon wanted to have something to show at the CES, so it only hinted about the development of the camera and its intentions to preview it. The camera was officially announced at the end of February and the first units started to ship shortly after in March. The Nikon D4s is a modest upgrade over the D4, with very slight ergonomic changes, expanded ISO range, faster image processor, faster wired / Ethernet speed, improved battery capacity and a bunch of new firmware options. As an incremental update, the Nikon D4s basically solidified the already superb D4 and made it even better.
It has been close to three years since Nikon announced the D4 and our readers might be wondering why I am only now reviewing the camera, especially given the fact that it has already been replaced by the Nikon D4s. While working on the D4s review, I thought that it would be a good idea to revisit the older D4 – better late than never! Since the camera came out, I have used it on several occasions for both personal and business needs, and a number of our team members have owned or still own the D4. Hence, the information and images that I gathered for this review represent a collective effort between our team at Photography Life.