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.
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!
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…”
What is Nikon’s best DSLR? This is perhaps one of the most frequently asked questions that many of us Nikon shooters get. Having been using Nikon gear for close to a decade, I have been fortunate to use pretty much every Nikon DSLR produced since I started – from low-budget entry-level cameras to high-end professional DSLRs. While my overall experience with Nikon DSLRs has been mostly positive, I surely did criticize Nikon heavily a number of times (and sometimes very harshly) – all with good intentions of course. As a company, Nikon has had its ups and downs for sure, but its track record of delivering solid cameras and lenses cannot be denied. Looking back and thinking about every Nikon DSLR camera I have used so far, I came to realize that some cameras just really stood out from the bunch. For example, for a long time, I picked the Nikon D700 as Nikon’s best overall camera for a reason – it was and still is an absolutely brilliant DSLR in many ways. At the time of its peak popularity, it was a very well-balanced DSLR, appealing to many enthusiasts and pros. And many of them even today, still believe that the camera never had a proper replacement. I sold mine a couple of years back and although it was difficult to let go of it, I eventually found something that I truly think presents the same amazing balance of image quality, features, ergonomics and value today. For me, it is the Nikon D750. I wrote a detailed review of the D750 last year and since then, it has surely become one of my most favorite Nikon DSLRs. Let’s take a look at the reasons why I picked the D750 over others as Nikon’s best overall camera.
I am getting a little nervous writing articles, seems like it puts a target on your forehead for criticism, some just, some un-warranted. So let me start this article by telling you what I am intending to convey in this article and that is the following: I took a 12 day wildlife trip (self-organized) to Alaska to photograph moose, I have done many self-organized wildlife trips before to other places. When I do these trips, what do I bring and why do I bring it? This is what I bring and what I do, and it works well for me, take from it what might be useful to you and leave behind whatever you find non-informative. After many small trips to shoot wildlife, we have developed a bit of a standard packing and gear list we bring. It changes slightly depending on the trip, but generally we bring three bags, two are camera gear, one is clothes :)
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.
As the number of photos taken each year continues to increase at a nearly exponential rate, infrared photography remains a relatively small niche in the photography world, one that allows us to see and capture the world in a unique manner. Because of my infrared articles and photos, I often receive emails from others struggling to achieve good IR processing results, sometimes even from our illustrious leader. ;) Recently, I received a spate of questions regarding my technique and seeking assistance. I thought that sharing a detailed example of my workflow might be helpful for those of you who have an interest in this style of photography and are looking for some tips and pointers.
It is hard to visit any photography website without noticing extensive fanfare being paid to the mirrorless camera niche. Some tout it as the savior of the mid-to-high end camera market. Others have dubbed it the “DSLR killer.” A number of prominent photographers have created videos and articles articulating how mirrorless innovations caused them to shed pounds from their bag and reintroduce them to the joy of photography. And why shouldn’t they? The market for traditional point-and-shoot cameras is in a free fall as smartphones increase in usage, quality, and capabilities. Traditional DSLR sales continue to fall as well. The industry certainly needs something to cheer about. And of course, photography websites need something to write about.
Buying photography equipment for the first time is a daunting task. Useful guides exist to help beginners choose a good camera, but few newcomers realize that the camera itself is only the first of many pieces of equipment necessary to create a full setup for photography. In this guide, I will suggest a complete kit — everything from lens cloths to computer monitors — that will provide a beginner with high quality images (and room to grow) for a price of around 2000 US dollars.
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?