High Speed Video that will rock your world

Wow, this is the coolest video I think I've ever seen...

THE MARMALADE Identity from schoenheitsfarm production on Vimeo.

Have a great weekend! – Ron

Canon Upgrades 7D Features For FREE!

This has to be a first! Canon is adding major new features to the 7D for free! Buy a Canon 7D now at Adorama or B&H. Here’s the press release: 

NEW FIRMWARE ENHANCES FUNCTIONALITY OF EOS 7D DIGITAL SLR

Free Update Increases Buffer Capacity to 25 RAW Images,

Adds In-Camera RAW Processing and Many Other New Features

LAKE SUCCESS, N.Y., June 28, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced a firmware update for the EOS 7D Digital SLR camera that adds new functionality to improve its performance for serious photographers and semi-professional users. The update, free to all EOS 7D owners, gives the camera more advanced shooting options, including an increase in the maximum number of burst images taken in the RAW file format (from 15[i] frames to 25[ii] frames) as well as the ability to process RAW image files directly in the camera and the option to set a maximum ISO setting in ISO Auto mode. The firmware also adds the ability to adjust up to 64 audio levels manually prior to recording video, supports custom file naming, and allows for compatibility with Canon’s newly introduced, optional GPS Receiver GP-E2.

“By introducing this firmware we want our customers to know that we are always looking to enhance the user experience for all of our current products in the marketplace,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “The latest firmware for the EOS 7D Digital SLR enhances the capabilities of the camera and brings new possibilities to its users, making it a more valuable tool for their craft.”

Enhancing the Imaging and Audio Capabilities

For budding action photographers who use the EOS 7D as their camera of choice, being able to capture the perfect shot comes down to a matter of milliseconds. The EOS 7D is capable of taking photos at a high-speed burst rate of up to 8 frames per second (fps). With the firmware installed the camera captures up to 25 consecutive frames when shooting in RAW and up to 17[iii] consecutive frames when taking RAW+JPEG images.

Once the firmware is installed the EOS 7D will also be able to process RAW images directly in the camera, allowing dynamic adjustment of exposure compensation, white balance, picture style, noise reduction at high ISO speeds, distortion correction, and other processing parameters. For mobile photographers, this ability to adjust RAW images quickly and re-save them as JPEG files can be a huge time-saver as opposed to downloading files to a computer and making adjustments later. The camera will also be able to re-size JPEG image files in-camera. These features will be accessible through the Quick Control functions which will be accessible while the camera is in playback mode. When viewing images on the camera, image files can also be given a star ranking for easy sorting during post processing.  The firmware will also enable faster scrolling of images when displayed in a magnified view on the camera’s LCD screen. 

The new firmware enables photographers to have more control over the maximum ISO speed when the camera is in ISO Auto mode by setting a maximum ISO range. In certain low-light scenarios, such as during a sunset, where light changes each minute, photographers can lose the brilliance and color if the ISO setting is too high. Now, photographers can ensure their ISO setting will remain within specific parameters allowing them to concentrate on the moment, knowing that they will achieve the desired photographic results. The firmware also adjusts the available ISO Auto range, previously 100-3200 and now ISO 100-6400.

In addition to these enhancements, the new EOS 7D firmware enables manual adjustment of audio levels prior to recording video, similar to the functionality found on the EOS 5D Mark II. Videographers can now manually adjust up to 64 audio levels on the EOS 7D so that they can refine the captured audio to match their particular needs.

Similar to the new EOS 5D Mark III, a new submenu provided with the EOS 7D firmware update enables photographers to modify the first four characters of file names, in the camera. This valuable feature makes it easier to use the EOS 7D camera in multi-camera shooting situations by providing a way to identify the files coming from a particular camera without opening each image individually.

Canon GPS Compatibility

The new firmware adds full compatibility for the EOS 7D with Canon’s GPS Receiver GP-E2. This GPS Receiver can be mounted to the camera’s accessory shoe or clipped to a belt and tethered via a USB cable. The GP-E2 was created to serve outdoor photographers; it records shooting locations including latitude, longitude and altitude, as well as camera direction. The camera’s internal clock can now synced through the GPS unit using UTC (Coordinated Universal Time), the primary standard by which time is regulated, for accurate time recording or syncing clocks on multiple cameras. A GPS Logging function can display the photographer’s route on a map, using supplied software.

Availability

The new firmware upgrade for the EOS 7D Digital SLR camera together with installation instructions will be available in early August at no charge through Canon U.S.A.’s website. For more information please visit the following link to view an online video about the new EOS 7D firmware features, www.usa.canon.com/eos7dfirmwareupgrade

† Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Buy a Canon 7D now at Adorama or B&H.

Disclosure

If you make a purchase using links found in this article, I may make a commission.

Now is the time to jump on Michael Zelbel's VIP list

I’ve heard from Michael Zelbel, the author of “How to Shoot Awesome Photos in any Bedroom (review), that he’s just about to release a new interactive video coaching program for beginner and amateur photographers. It will soon hit the shelves and if you know Michael's stuff then you know it’s going to be awesome. He is going to teach:

• how to pick your signature style, then
• shoot really cool photos in your style and
• present them in a way that opens doors for you

If you are going to purchase this program then it will set you back a pretty penny. That's why I would like to drop you a timely tip about how to get your hands on it at a reduced price.

Before Michael releases the product to the public he wants to collect feedback from beginners and amateur photographers who go through this program in order to develop their skills. That’s why he is going to put the complete program up in his Pro Portfolio Club Coaching Club, so that all members can go through it and provide their feedback. The current members of the club already helped him a great deal developing the program. Besides the opinion of his current members he would also like to have some new members checking it out, members who were not involved with the creation of the program at all.

That’s why he is going to open up the club for new registrations this weekend. Invitations are sent to his VIP list only. If you like to get an invitation, then head over to the following link and get your email onto his VIP list:

http://ProPortfolioClub.com/secretgarden

If you make it into his club, then say hello to him from me.

Disclosure

This is an affiliate advertisement. If you purchase this service, I may make a commission.

Real World Shots: Sony NEX-7 Panorama & More Images Added

f/4.5 @ 33mm, 1/60 sec ISO 1250 AWB Aperture Priority

If you enjoyed my Sony NEX-7 review (click here), then you’ll be happy to know that I’ve added more real-world sample images at http://ronmart.zenfolio.com/nex7. These are all in-camera JPEG’s with zero post-processing and no flash. Click the images to see the originals (6000x4000px usually).

Panoramas

I’ve also including some panoramas as shown below (click for original):

Wide Pano
I failed here because I moved too slowly (12416x1856 pixels)

Wide Pano
This time was better and it did a decent job with only a few small errors found if you look closely

Standard Pano (8192x1856 pixels)

Miscellaneous Shots

Along with the first shot in this article, these are just some random shots that I think show off the ability of this camera. All were taken with the 18-55mm kit lens.

f/3.5 @ 18 mm, 1/40,ISO 1600 AWB Aperture Priority

f/13 @ 18 mm, 1/200,ISO 100 Intelligent Auto

Sunny Day Torture Test
f/13 @ 25 mm, 1/160,ISO 100 AWB Intelligent Auto

Autofocus fail and horrible auto white balance
f/4 @ 32 mm, 1/60,ISO 1600

Auto White Balance just went wonky here (that’s a white plate)
f/4 @ 24 mm, 1/60,ISO 800

 

Closing

Click here to read my full review of this camera.

The more I use this camera, the more I appreciate what I can do. It takes a great image for sure, but I find Canon and Fujifilm cameras easier to use in the field due to better hard button controls and menus. I also find that auto white balance can be very bad sometimes, and the flash is useless.

Order your NEX-7 today at B&H and help support this blog!

Too expensive for your budget? How about this option…

If the NEX-7 is out of your budget, you might want to consider the NEX-F3 which is now shipping. It’s a fraction of the cost, comes with the excellent 18-55mm lens and is only $598!

The cool thing about the NEX system is that it seems to be well thought out and executed, so you could buy the F3 and then grow into the 7 down the round. Your lens and accessories would still work so you could get the body only for the 7 and you’d be back in business

Disclosure

I was provided with a loaner unit of this camera and lens which I intend to return. If you make a purchase using links found in this article, I may make a commission.

REVIEW: Ilford Galerie Prestige Smooth Pearl Photo Paper

Ilford Galerie Prestige Smooth Pearl (buy at Adorama) is a new version of Ilford’s popular Smooth Pearl photo paper. What makes this version different is the thicker weight (310gsm up from 290gsm) which makes a big difference in your hand. That last point is very relevant because when you are charging a premium price for your work, the customer expects to hold a paper that feels substantial. This product accomplishes that fine art paper feel which helps it to really earn the name Prestige.

I like this paper and felt it was a nice alternative to some more expensive papers in this class, but it has a very professional feel that clients are sure to appreciate.

Specifications

Here are the key facts about this paper:

Basis Weight	310 g/m²
Thickness	12 mil
Gloss (60°)	24%
Surface Finish	Pearl
Opacity	99%
Tint (CIE L*a*b*)	95.1, 0.6, –4.6

Ilford’s full web page on this paper can be found here.

ColorThink Pro Color Gamut Analysis

In comparing Epson’s 4900 profile for Exhibition Fiber against Ilford’s Prestige Smooth Pearl 310gsm’s 4900 profile, the Ilford profile had the slight advantage. Realistically though this means they’d perform about the same. Here’s some analysis done with ColorThink Pro 3.03 to illustrate the profile differences:

ColorThink Pro 3.03 2D Comparison of Epson 4900 Profiles
Exhibition Fiber (interior) and Prestige Smoot Pearl 310gsm (exterior)

Smooth areas indicate Epson Exhibition Fiber advantage
Tile areas indicate Ilford Prestige Smooth Pearl advantage

How I tested this paper

I printed a color image first, then a grayscale (in color rather than Epson's ABW). I considered both to be frame worthy. The grayscale tones were so outstanding that I didn’t need to conduct any further tests because I had comparison prints on other papers that proved this was a first class print. I then printed a selection of color images of various types with people and objects and compared those against my printing series reference images. 

After I was satisfied with the results on my Epson 4900, I repeated my testing on the Canon iPF6300. It performed equally very well on both platforms.

I like the heavier weight of this paper as flimsiness is something I hate about nearly all other RC papers I’ve used. I was especially pleased that it was thick but not so stiff and thick that it would probably curl really bad with rolls. I wasn’t able to test the roll paper, so don’t quote me on this, but I felt like this thickness was a good compromise of quality vs performance.

Epson Stylus® Pro 4900 Print Settings (Photoshop CS6)

You can download profiles here.

I used n_GPSPP12_EPSpro4900_PSPP250n.icc for the 4900 (and GPSPP12_EPSpro3880_PSPPn.icc for my 3880) with the Premium Semigloss Photo Paper (250) Media Type.

I found the color accuracy of the profile to be excellent and the results a perfect match for what I see on my NEC PA Series display with the print in a GTI PDV-2020EX light box.

Here’s my settings:

Be sure to use the printer correct printer profile and check Black Point Compensation

Be sure to use the Premium Semigloss Photo Paper (250) Media Type

Max Quality works well

I’m not a big fan of printing from Photoshop CS5, but CS6 has improved so that I feel I can get used to it. I use CS4 or CS6 when printing, and for Epson I use the typical File | Print driver.

Lightroom 4.x

Lightroom performs the same way, so just make sure you use the correct profile and you are good to go:

Make sure you use the correct paper profile here

You might also find these articles handy when printing on Epson printers:

• How To: Using Epson’s Advanced B&W Photo (ABW) printing feature
• Understanding Epson’s Printable Area Feature to Avoid Uneven Margins on the 4900
• Printing Series – Contains lots of great printing info

Canon iPF6300 Print Settings (Canon Print Plug-In for Photoshop)

You can download profiles here.

I used the GPSPP12_CANipf6300_PSGP280n.icc profile and the Premium Semi-Gloss Paper 280 media type as shown here:

Print Plug-in settings for a Canon iPF6300, iPF6350, or iPF8300

This paper works very well with Lucia EX inks from Canon. When printing, be sure to use the Premium Semi-Glossy Paper 280 Media Type, and I found the Relative Colormetric rendering intent (aka, matching method) to be my preference in my test prints.

The Canon profile prints a little warmer than the Epson, which I like, but color purists might wish to adjust the Color Settings or modify their file to compensate for this.

Overall this is a very good printer profile, so I advise against building their own with the ColorMunki Photo. I think you’ll find that Ilford’s profiles are superior.

Conclusion

If you are doing prints for galleries or clients, I think they will appreciate the substantial feel of this paper over its thinner sibling ILFORD GALERIE Smooth Pearl which is only 280 gsm and 11 mil. The Prestige edition commands about a 20% premium based on pricing at the time of this article, but those reselling their prints should easily be able recoup the difference. However, those who are just printing for themselves and/or will be putting the prints behind a frame quickly, I think you’ll find

I like this paper and have been enjoying the chance to use it lately. My only complaint is that I don’t have more of it in letter size sheets, and 17 & 24” rolls because those sizes are just being released today!

Learn more at http://futurenow.ilford.com and http://futurenow.ilford.com/#SmoothPearl.

Where to buy

If you enjoyed this article, please support this blog by using these links when ordering.

Click here to purchase Ilford Galerie Prestige Smooth Pearl at B&H, or click here to purchase from Adorama.

You may also be interested in my Fine Art Printing book:

NOW AVAILABLE - Click Here to learn more

Disclosure

If you make a purchase using select links in this article, I may make a commission. I was also provided with a 11x17” sheet pack this paper weeks in advanced so that I may test it for a review.

Massive B&H Sales & In-Stock Updates

Hot Deals include Canon, Sony, Fujifilm, Sigma, Tamron, Sandisk and Panasonic! B&H is going wild with sales and seems to be getting a bunch of stuff in stock, so I decided to do a quick page rather than using my hot deals column on the right side of this blog.

Canon

Canon BG-E11 Battery Grip for 5D Mark III (in stock)

Canon EF 40mm f/2.8 STM Pancake Lens (due Friday)

Canon 5D Mark III in stock (rebates available)

Sigma

Sigma Lens Rebate Page (For Canon, Nikon, Sony & Pentax)

Tamron

Tamron Lens Rebate Page (for Canon, Nikon, Sony & Pentax)

Sony

Sony Alpha Lens Rebates end on June 23

Sony Alpha SLT-A37 Digital Camera with 18-55mm Zoom Lens (new & in-stock)

Sony NEX F3 In Stock (great low-cost alternative to the NEX-7 I just reviewed)

Fujifilm

Fujifilm X10 Rebate – See my X10 review – I love this camera!

Sandisk

Sandisk Specials – expiring soon – limited quantities

Panasonic

Panasonic Lumix G X Vario PZ 14-42mm f/3.5-5.6 Power O.I.S. Lens (Silver) – back in stock!

Cool Cable Finder Page

Cool Cable Finder Page

And more (previously announced):

• Adobe Lightroom 4 for as little as $76
• ALL NEW Apple MacBook Pros (save sales taxes & free shipping)
• Canon 1D X Pre-Order
• Canon 5D Mark III - Double Instant Rebates
• Canon EF 24mm f/2.8 IS USM Lens (Ships June 17)
• Canon EF 28mm f/2.8 IS USM Lens (Ships June 17)
• Canon Instant Rebates
• Canon Rebel T4i and new silent lenses pre-order
• Canon Speedlite 600EX-RT In Stock & $30 rebate
• Fuji X-Pro 1 In stock and save $50 on Lightroom
• Nikon 24-85 VR Pre-order (NEW)
• Nikon D4 - Pre-Order
• Nikon D800
• Pocket Wizard Plus III (NEW and only $139)

Disclosure

If you make a purchase using links on this page I may make a commission.

REVIEW: Sony Alpha NEX-7–Yeah, it lives up to the hype

Sony NEX-7 – Yeah, it’s really as good as everyone says it is

The Sony NEX-7 has been around for a while, and when I saw it in New York last fall I wasn’t captivated enough by it to give it a deep look. I tried to reach out to Sony, but they seemed uninterested in blogs like mine so I figured I’d focus on the much hyped Nikon 1 V1 and Fujifilm X100. Both of those cameras end up disappointing me, and the eagerly anticipated XPro-1 had brilliant image quality in yet another poorly executed end product. My dream of having everything I loved about the Fujifilm X10, yet with a better sensor had seemed to be an impossible dream.

While I won’t be replacing my X10 just yet, I’m impressed with the Sony NEX-7. I’m still in the camp that if you want a DSLR, get a great DSLR from Canon or Nikon, but if you want a compact camera then get X10. However, The NEX-7 is the camera I’d easily recommend over the Nikon 1 V1 (and J1), X100, XPro-1, and the Canon G1X.

Living with the NEX-7

Well laid out, but not has handy as you might think at first glance

While the NEX-7 isn’t as big as a full-blown DSLR, it’s big enough that it’s not going to drop in the door pocket of my SUV like some of the other cameras I’ve tested. The lenses are proper lenses, not some tiny pieces of junk like those found on the Nikon 1 V1.

The unit I tested also had the 18-55mm f/3.5-5.6 zoom lens which surprised me with the fact that it didn’t suck like most kit lenses typically do. It seems to be well made with reasonable optics (not great, but usable) and features a very usable minimum focus distance. I also had the 50mm f/1.8 which cost the same as the zoom, but was much more frustrating to use due to its longer minimum focus distance (15.3 vs 9.84”). If I were buying one of these for myself, I’d definitely go for the zoom and pass on the 50mm. Here’s a sample image taken with both the 50mm and 18-55mm @ 50mm (both at f/5.0):

Mouse out for the 18-55mm @ 50mm (full-size) and
Mouse over for the 50mm (full size)

Controls & OLED Display

The grip, buttons and knobs are first class – no cheap feeling at all

This camera features an excellent grip and a very usable OLED display in the rear. I expected to be blown away by the OLED display, but I wasn’t. Perhaps I’ve become desensitized after staring at the new iPad display, but I didn’t perceive it to be any better in real-world use over the LCD’s in the latest Nikon and Canon cameras, nor was it to super to the Fujifilm cameras I’ve used. The controls have a good solid feel, but like many cameras in this class it’s lacking the controls I want where I need them, so often you are cycling through menus or buttons to get to what you need. This really hampers reactionary work, so this is definitely not a camera I would recommend to a photo journalist looking to downsize to something more discrete.

Flash Performance

I found the pop-up flash to be just as useless as most point and shoots, despite its interesting design. It still doesn’t go high enough to clear the hood on the zoom lens, and it’s a tiny nuclear bomb of light that hits the target like a laser instead of spreading wide to light the entire scene. Here’s what you can expect in your typical dark restaurant scenario:

Typical point-and-shoot like nuclear blast of light from the on-camera flash (0EV FEC)

Pulling the flash exposure compensation back is a challenge by default, but when you set it to –3EV it gets better but is still pretty hot due to the direct nature of the flash. Here’s an example which admittedly is being impacted by the white hoodie which acts as a reflector here, but you can see on the girl and toddler that the lights not quite as hot:

You can dial back the flash, but not enough (-3EV FEC)

Just like the Fujifilm X100 and XPro-1, this camera features a LCD viewfinder that matches what you see on the rear. However, it’s not as advanced as the brilliant Fujifilm design which also allows for true optical – there is no optical here. I also found the viewfinder to be frustrating as I’d often get my hand too close to it and end up causing the rear LCD to go black.

A good investment with growth opportunity

20 minutes before sunset on a cloudy day
Click for original (this has minor debris removal and cropping, original is untouched)

What I really like about this camera over the competitors is that Sony has made a great selection of E-Mount products in the NEX lineup that give you room to grow. There’s long, wide-angle, pancake, fisheye, etc… lenses as well as high quality Carl Zeiss lenses like the 24mm f/1.8 Sonnar.  This is a platform that grows with you, so you won’t be left out in the cold as easily as I fear will be the case with some of the other manufacturers highly proprietary designs. In fact, if you don’t mind manually focusing, Bower makes an adapter which allows you to mount your Canon EF lenses to the NEX-7.

Bookshelf Test

I found this camera to underexpose by about 1 stop compared to my other cameras so I shot all of these in M(anual) mode at +1 EV. These are all the in-camera JPEG’s with no modification. Click to view the originals for a fair assessment of image quality as artifacts appear in these small thumbnails that do not appear in the original file. I was VERY impressed with the results – this is competitive with any DSLR on the market.

18-55mm lens - f/5.6 @ 50mm, 6s, ISO 100, DRange Auto, AWB

50mm 1.8 lens – f/5.6, 8s, ISO 100

ISO 12,800 is usable for casual photos

HDR Result

HDR Mode +/- 6

This camera has built-in HDR support (JPEG only and discards exposures). The best it can do is shown above which is quite good, but one frustrating fact is that when you are in HDR mode you can’t use the timer. As a result your finger press can introduce shake that can ruin your long exposure. A remote release or great care is required to avoid camera shake at the start of the first exposure.

Mouse over to see the non-HDR and mouse out to see the HDR Auto version

I found the auto HDR setting to be very conservative, but the auto-alignment was brilliant. Hand-holding was never a problem for reasonable light exposures.

Conclusion

The battery was good for a day which was a big improvement over other non-DSLR cameras I’ve looked at. The performance of the Anti-Blur mode (JPEG only) was outstanding. It’s the mode you use when you are in the dark restaurant or pub and you want to get that family shot. Of course, it doesn’t help you with the the fact that there might not be a lot of light on your subjects faces, but at least your subjects won’t be hopelessly blurry.

I was impressed with image quality with the kit lens and availability of lenses (including third party), I find this to be a good choice for those looking for something smaller than a traditional DSLR – for casual use. I was also pleased with the pano feature which works much like the Fujifilm X10, but is more forgiving and fun to use (click here for samples). Video is also excellent, but sadly I didn’t get much time to test it so I have no meaningful samples to share.

My only real gripe about this camera are the annoying menu system and its lack of quick access to things like white balance and macro mode. I also hated that I didn’t have a easily accessible way to zoom the live view like I would on a DSLR. YES, I can realize I can reprogram buttons but the fact is I don’t see any candidates I’d want to reprogram. I just want more buttons for faster access, and its crappy menu system doesn’t help either.

If you are hell bent on going with a more compact alternative to a DSLR, then I think you’ll be happy with the Sony NEX-7.

Order your NEX-7 today at B&H and help support this blog!

Too expensive for your budget? How about this option…

If the NEX-7 is out of your budget, you might want to consider the NEX-F3 which is on sale now. It’s a fraction of the cost, comes with the excellent 18-55mm lens and is only $598!

The cool thing about the NEX system is that it seems to be well thought out and executed, so you could buy the F3 and then grow into the 7 down the round. Your lens and accessories would still work so you could get the body only for the 7 and you’d be back in business.

Real-World Sample Images

You can find the latest images that I’ve added at http://ronmart.zenfolio.com/nex7 as well as my article entitled “Sony NEX-7 Panorama Images Added”. Here’s a few that I’ve done so far that are worth mentioning. None have any post-processing and all link to their original in-camera JPEG’s:

I was pleased with the detail from hand-held shots in low ambient light

My wife thinks these are creepy, but this and others in the gallery give you an idea of how the lenses compare. These were all done hand-held in admittedly tough wind conditions.

This was really dark in real-life – I was shocked at how well the NEX-7 did here

Using Landscape mode and Shade White balance, rich colors were possible

This is a tough shot because my son is bouncing around like a head banger
Using the Anti-Motion / Blur feature, I stopped him his tracts and got a good clean shot.
That’s very impressive for this price point.

Taken on the go while walking back to the car
Macro mode sometimes just works

Macro mode was hit or miss. Here’s an example of a miss where the camera made an audible focus lock sound, but the net result was a total fail (which happened a lot):

Macro mode can let you down if you aren’t careful

50mm 1.8 lens - it works well as a portrait lens

Thanks to a shorter minimum focus distance, the 18-55mm outperformed the 50mm for this shot

Lots of detail even at ISO 1600

Horrible shot, but what’s noteworthy is that at ISO 640 there’s still plenty of detail in the netting

Another horrible ISO 6400 shot, but the detail on the strawberry is impressive (ISO 1600 version)

Shallow depth of field was much easier than with a point and shoot

Disclosure

I was provided with a loaner unit of this camera and lens which I intend to return. If you make a purchase using links found in this article, I may make a commission.

Celebrate RonmartBlog.com reaching 1,000,000 visitors and win a gift!

RonmartBlog.com established
thanks to the support of my sweet wife

If you’ve enjoyed this blog then please help me celebrate this blog reaching the 1,000,000+ mark by:

• Saying hello or making a request on how I can improve this blog on my Facebook, Google+, or Twitter page;
• Posting a link to your favorite article(s) on your favorite online forum (this helps me A LOT);
• or just giving a shout out on your favorite social network with a link back to http://www.ronmartblog.com/p/discounts-promo-codes.html

I’m deeply honored that the success of this blog continues thanks to your overwhelming support! On August 8, 2011 I announced that this blog crossed the 500,000 visitor mark, and in only 10 months shortly this blog will have doubled in size by reaching the 1,000,000 visitor mark – THANK YOU!

You’ve enjoyed reading nearly 2,000,000 pages and you’ve saved nearly a dollar a page thanks to my Discount Coupon Code page found at the tab bar on this blog as shown here:

If this blog has helped you then please show your support by:

• Using links on this blog to make a purchase at Amazon, Adorama, B&H and others found on the discount coupon code page;
• Making a donation;
• or telling all of your friends about your favorite articles via your favorite social networks and forums.

Here’s to the next 1,000,000 and beyond!

Thanks,

Ron Martinsen (gear)
http://portfolio.ronmartinsen.com (portfolio)
http://ronmartinsen.blogspot.com (photo blog)

NEW Lenses: Nikon 18-300mm VR II and 24-85mm VR– Pre-Order Now at Adorama

Nikon 24-85mm f/3.5-4.5G ED AF-S VR

Nikon 18-300mm f/3.5-5.6G ED IF AF-S DX VR II Lens

Nikon Expands Acclaimed NIKKOR Lens Lineup with the Addition of the New 18-300mm VR All-in-One High Power Super Zoom Lens and the 24-85mm VR Lens

Today, Nikon Inc. announced the addition of two new lenses to the legendary NIKKOR lineup, the AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR and the AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lenses. The new 18-300mm VR lens is a versatile and compact 16.7X all-in-one super zoom DX-format lens, while the new 24-85mm VR lens is an ideal standard zoom for any FX-format photographer. These optics were designed to meet the needs of all types of photographers, from those looking to capture everything from family outings to elusive wildlife and stunning landscapes.The new 18-300mm and 24-85mm lenses deliver the performance and superior image quality that photographers of all levels have come to expect from NIKKOR lenses whether capturing still images or HD videos.

To capture stunningly sharp images with excellent clarity and color reproduction or HD video that exhibits sharp critical focus with a dramatic depth of field, the new 18-300mm VR and 24-85mm VR lenses will empower photographers with a variety of exclusive core NIKKOR technologies. Both lenses are equipped with Nikon’s Vibration Reduction (VR) II image stabilization system which provides the equivalent of a shutter speed approximately four stops faster. The built-in Vibration Reduction will help photographers create blur-free images and video while shooting handheld and in challenging lighting conditions. Two focus modes, manual-priority autofocus (M/A) and manual focus (M), are easily selected in both lenses as well. When either lens is in manual-priority autofocus (M/A) mode, users will be able to instantly switch from autofocus to manual focus operation by simply rotating the focus ring, even during AF servo operation. Additionally, both lenses feature an internal focusing system, providing fast focus without changing the length of the lens while retaining working distance through the focus range, and Nikon’s Silent Wave Motor (SWM) technology designed to deliver fast, accurate and quiet AF performance. The lenses also boast Nikon’s Super Integrated Coating (SIC) which provides superb color reproduction, color consistency and reduced flaring.

“Whether a pro on assignment, a photo enthusiast or an indie cinematographer, all Nikon users appreciate and rely on the vast selection and reliability of NIKKOR lenses for all of their imaging needs,” said Bo Kajiwara, director of marketing, Nikon Inc. “The new AF-S DX NIKKOR 18-300mm VR and AF-S NIKKOR 24-85mm VR lenses are fully optimized to capture stunning images and videos while meeting the growing needs of photographers of all levels around the world.”

The NIKKOR 18-300mm VR Lens: Nikon’s Longest Focal Range

Building on the popularity and versatility of Nikon’s telephoto zoom lens lineup which includes both the NIKKOR 18-200mm f/3.5-5.6 and 28-300mm f/3.5-5.6 VR lenses, the new 18-300mm f/3.5-5.6G ED VR lens is Nikon’s longest focal range ever, with an astounding 16.7X ultrahigh-ratio zoom range. The DX-format 18-300mm VR lens is surprisingly compact, lightweight and covers a focal range from wide-angle 18mm to super-telephoto 300mm, equivalent to a focal length of 27mm to 450mm in FX/35mm format. At the 300mm focal length setting, the lens’ large f/5.6 aperture enables photographers to shoot at faster shutter speeds with shallow depth-of-field. This new super telephoto zoom lens is ideal for taking stills when travelling and for all around general photography including landscapes, portraits and distant subjects. The 18-300mm lens is also excellent for recording HD video as it can be used for wide establishing shots, medium close-up shots and extreme telephoto sequences when the users want to separate the subject from the background.

The construction of the AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR lens consists of 19 optical elements in 14 groups with three Extra-low Dispersion (ED) glass elements that effectively minimize chromatic aberration, even at the widest aperture settings, and three aspherical lens elements that virtually eliminate aberrations at wide aperture settings. The new lens also incorporates a nine rounded blade diaphragm to help achieve a natural looking dramatic separation between subject and background.

The AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR also has a dedicated zoom lock switch which secures the lens barrel at its minimum length and will prevent the lens from sliding during transportation. Additionally, the 18-300mm VR lens is ideal for capturing close-ups with great detail, as it offers a 1.48 ft. minimum focusing distance at 300mm, as well as a maximum reproduction ratio of 1:3.2X.

The NIKKOR 24-85mm VR Lens: The Standard Zoom for FX Shooters

Ideal for photographers seeking an FX-format compatible standard zoom lens, the new AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens delivers sharp, crisp and high-quality images and can be assigned as an everyday walkabout lens. Covering the frequently used focal-length range of 24mm to 85mm, this lens is a great companion for any FX-format shooter and is ideal for shooting stills of landscapes, architecture, head and shoulder portraits, candid shots or group shots. For HD video shooters, the 24-85mm VR lens is a natural choice when filming landscapes, large groups of people or when wide field establishing shots or medium close-ups are needed. The 24-85mm lens is a great everyday lens that is compact, lightweight and easy to carry on any photo assignment or family adventure.

In addition to the lens’ built-in Vibration Reduction (VR) technology, the AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens features Auto Tripod detection which recognizes when the camera is mounted on a tripod, even during HD video recording, to help deliver specialized VR correction. The lens construction of the 24-85mm VR lens consists of 16 optical elements in 11 groups with one Extra-low Dispersion (ED) glass element, three aspherical lens elements and a seven rounded blade diaphragm.

Price and Availability
The AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR lens will be available at the end of June 2012 for the suggested retail price (SRP) of $999.95*. The AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens will also be available at the end of June 2012 and will have a suggested retail price (SRP) of $599.95*

Disclosure

If you make a purchase using links found in this article, I may make a commission.

REVIEW: Nikon D4 vs Nikon D800 & Canon 5D Mark III - Part I

Nikon D4 Courtesy of LensRentals.com (discount)
Purchase from Adorama or B&H

Introduction

This article is a high level overview of my first impressions with the new Nikon D4. I’m a Canon shooter who has owned the 1D Mark III and currently own the 1D Mark IV, so I’m used to pro bodies. I also have hands on experience with the Nikon D3, D3s, D700 and D800 (as well as other Nikon bodies).

To be clear I like Nikon, Fuji, and Canon cameras. It is my best interest to say nothing good about Nikon so you’ll buy one using links found in this article. However, my blog has always been about providing my honest opinion based on real world use so that’s what I provide here. I also will compare it to what I’m used to which is the Canon platform, so if you are a seasoned Nikon shooter those comments are probably irrelevant to you. If you are a Canon shooter considering a platform switch, then I think you should pay close attention to them.

First Impressions

The build quality of the D4 is what you expect from a pro body, so it won’t disappoint. There’s also all the greatest features and do dads that are sure to keep you busy for months as you get used to mastering them all. However, the default settings are very good and honestly the AF system out of the box is much easier and foolproof than the Canon 1D Mark IV. I find that I can dial in the 1D Mark IV with greater accuracy (learn how), but the D4 is certainly more forgiving (like the 5D Mark III).

I think the Nikon faithful are going to love this camera, but I don’t think it’s the huge leap of improvements that we saw when the D3 arrived. I think the D3s is probably one of the best Nikon bodies ever made, so I think upgrading from that body only makes sense for those who want to stay current.

The burst mode is fantastic and 49 frames with full uncompressed raw and JPEG Fine was easily reproducible over and over again. It seems that Nikon is artificially limiting the upper boundary since it’s so predictable, but 49 at 10+ fps is probably enough for most people’s needs.

I wasn’t able to test the new XQD memory cards, but personally I’m satisfied with the CF performance. In fact I was bummed that there was no built-in SD card for use with my Eye-Fi. This left the D4 with only one usable slot for me which was a real bummer. XQD feels like a beta max or memory stick ploy all over again, so I’m disappointed that Nikon chose this route.  CF is certainly more economical and is plenty fast.

My only gripe is about the price, but it’s roughly $1k cheaper than Canon’s upcoming 1D X. When I added up the cost of my gear and some of the new stuff coming out, it was obvious that Nikon is the more affordable platform these days.

I loved the new programmable buttons and options! I have always loved how Nikon makes so many features available on the camera, so from this standpoint this camera is a joy to use. The rear display also didn’t strike me as extraordinary but it worked reasonably well.

I did hate that the sub selector wasn’t redundant by default with the multi selector as I frequently hit the sub selector by accident. The result was typically annoying as I’d lose my preview or something equally frustrating.

Overall though my impression was favorable and I liked the D4.

Compared to the Nikon D800

As one might expect given the feature (and price) differential, I had a preference for the D4. I’m used to pro bodies with lots of flexibility in the custom settings, and the D4 doesn’t disappoint here. I also appreciated the fewer megapixels which made hand holding telephoto shots much more forgiving and therefore offering more sharp and in-focus images.

Overall, if I were spending my money I’d go for the D4 over the D800 for numerous reasons. Sure there’s more megapixels in the D800, but the D4 images are big enough for practical use. The D4 has a noise advantage (although subjectively it feels noisier than the D3s I used a while back).

The Bookshelf Test

If you’ve followed my blog for a while, then you know that I like to take shots of a bookshelf to compare cameras. The reason for this is simple – I can see how the camera performs in the deep shadows as well as the hot reflective surfaces – all under long exposures (no flash used). I always use Mirror Lockup and Manual mode with the focus set once and locked in Manual mode. VR is off and the camera is in a tripod with no movement in the room during the entire exposure.

One interesting thing that I noticed between these two cameras – even when using the same lens (Nikkor 70-200mm f/2.8G ED VR II) – is that the D4 was about a half stop brighter. I noticed this when shooting the exact same subject (the bookshelf) using the same identical metering modes (Active Matrix) in identical light. Here’ an example at ISO 100 where 25sec was needed to get the shot on the D4 versus 15 seconds on the D800.

You MUST view these images at 100% for a fair comparison. Thumbnails are included here merely for reference.

Nikon D4, ISO 100, 25sec at f/8 100mm, Auto White Balance – In-Camera JPG
This is the setting the D4 indicated a correct exposure

Nikon D800, ISO 100, 15sec at f/8 100mm, Auto White Balance – In-Camera JPG
This is the setting the D800 indicated a correct exposure
Note due to the greater pixel density of the D800, this image has more artifacts at this size

Nikon D4, ISO 100, 15sec (-1EV) at f/8 100mm, Auto White Balance – In-Camera JPG
The D4 indicated a one stop (-1) underexposure, but it’s a match of the D800 setting

Where you really notice the difference is on the pink book where it says “academic” and the top of the red book.

Here’s some ISO 6400 swatches from in-camera JPEG’s at 100% for comparison:

D800	D4 0EV
D4 -1EV	5D Mark III

To my eyes it looks like the D4 does the best job of retaining detail when under exposed by one stop, and the D800 has the most noise but the most noticeable wood grain detail.

To see more bookshelf images from each of the cameras use the links below:

• D4 images, visit http://ronmart.zenfolio.com/d4
• D800 images, visit http://ronmart.zenfolio.com/d800
• 5D Mark III images, visit http://ronmart.zenfolio.com/5dm3vsd800

The Live View Bug

While there was more static than I’d like (and a lot more than Canon cameras), the Live View bug found in the D800 isn’t as pronounced. You still need to back off two zoom stops off the max in low light to get the most usable result, but the noise wasn’t nearly as debilitating.

Compared to the Canon 5D Mark III in the Studio

By the time I did this review I no longer had access to the Nikon 800, so I couldn’t take the same portraits. However, the sensor of the 5D Mark III is allegedly very similar to the upcoming Canon 1D X so I did the next best thing. Besides, the 5D Mark III is my personal favorite DSLR on the market right now so I thought it would be fun to compare the two.

I should also note that I didn’t bother testing my 1D Mark IV against the D4 simply because it’s a model that is soon to be retired and a previous generation camera. I will draw some more comparisons between the two in a future article.

Testing Methodology

The way I compared these cameras was to use the default settings (with RAW+JPEG Fine added and in M mode) in identical lighting conditions. The Canon 70-200mm lens is brighter and has greater reach due (compared the rear focus design of the Nikkor) so I had to adjust the camera position and settings to accommodate for these differences.

I did have a major fail in that I thought I had the no smile shot of the model in the first take so I shot several more where she was smiling. When I did the comparison at my desk, the best D4 shot was of a non-smile so I ended up with a subject variation. We are pixel peeping here though, so I don’t think it’s going to make a huge difference. What does make a difference is that the Canon does more in-camera sharpening than the Nikon.

I don’t have  place to host the raw images and I wanted to exclude software errors so I’m using in-camera JPEG’s from both platforms.

The studio was set up like this for this test shot:

Room Configuration
Model - Alessandra Mariella

The Images

Here’s an image taken with the Nikon D4 using the configuration shown above:

Nikon D4, Unedited In-Camera JPEG
1/40 sec at f/9, 200mm ISO 100, Auto White Balance

Canon 5D Mark III, Unedited In-Camera JPEG
1/60 sec at f/10, 200mm ISO 100, Auto White Balance

D4 Eye 100%

5D Mark III Eye

 

D4 Lips 100%

5D Mark III Lips 100% 

The Canon 5D Mark III over sharpens so it appears to have an edge, but when you look carefully at the two RAW’s I’d call them about the same. The D4 does seem to offer a little bit better detail at higher ISO’s, but it’s not the blow away leader that the D3 & D3s were when they were introduced. I think in the perfect lighting of the studio either camera will be sure to please.

I’d avoid shooting JPEG with the D4 as it seems to really benefit from RAW processing. I always urge people to shoot RAW on Canon, but if you shoot RAW+JPEG on Canon (when burst mode is not required) then you’ll find that the JPEG is usually usable most of the time. This is one place where I think the Nikon may be more of a time drain for event and wedding photographers. However, if you have your Nikon workflow down with your favorite actions then this is probably not an issue.

A word about AF accuracy

Settings for the shot below

Despite nailing the AF point, the shot was a miss
due to presumably a minimum focus distance issue

I’ve always said that if you photograph kids then you are a sports photographer, and my son gave the D4 a workout. I’ll talk more about that in a future article but note that about 40%+ of the images I took of my son were out of focus. As a former Canon 1D-Mark III owner, I felt like I was using that camera as I definitely get a higher percentage of in-focus shots with my 1D Mark IV and 5D Mark III. Some issues like the one above might be attributed to the horrible minimum focus distance of the Nikkor 70-200 lens, but I do think that some blame rest on the camera itself. However, I understand that this is a complex AF system just as those found in the Canon pro bodies, so it’s always possible that I didn’t have the perfect AF settings dialed in. I was shooting single AF point (and hitting my target) in AF-C when the subject was traveling and AF-S when the subject was stationary. In this case the subject was stationary and moving very slowly.

Unedited Real World Shots

The following are all shots uploaded from the in-camera JPEG’s with zero modifications. This is exactly how they came out of the camera with no cropping or edits. I don’t have a storage server for RAW’s but if there is a single image that you really want to see a RAW file then contact me and I can try to make it available to you via Dropbox.

For a full gallery of images click here.

Please note that I despise when photographers are showing nothing but a bunch of shots of their kids. I apologize for doing that here, but I got the D4 unexpectedly. I ended up having to review it during the course of normal family activities (often in non-ideal light) so this is the result. They are as real-world as it gets.

Spot focus is not as accurate as the 5D Mark III, but better than the 1D Mark IV

Swing test went very well

Random Dog

Dangle test – check!

Detail is good here at ISO 12,800

Great detail, but had to spot focus on the boat to get a correct exposure
Canon cameras would handle this best with Evaluate metering (similar to Active Matrix)

Dynamic range seemed pretty good, but I despise the white balance modes on Nikon’s

Evening flowers under tungsten (tungsten WB) at ISO 2000 (1/50 sec hand held)

ISO 12,800 under tungsten (f/13 for 1/50 sec handheld)

I never found a white balance mode outdoors that made me happy.
Auto white balance felt too yellow/orange

I settled on the too green and cold tone of Direct Sunlight (which I preferred to Shade & Cloudy)

I struggled with the D4 metering mode accuracy, but found spot to be my safest bet.

For this running series I got one of 10 shots in focus

This was handheld and with perfect light it does fine as a studio camera
Model - Alessandra Mariella

For Canon users who are considering switching platforms

As a camera body, you’ll enjoy the grip feel and all of the hard buttons. This is something that makes Nikons a joy to use. Many other things are about the same – just different so you’ll get used to it.

From a focusing standpoint I found the single point focusing to be similar to the 1D Mark IV’s single point focusing, but not as laser tight as the 5D Mark III and 1D X.

I’ll be blunt and say that I despise the Nikon metering system. It sounds amazing on paper, but in the real world it’s a total fail. Often times spot metering is required to get the desired result because center weighted is mostly useless (even with tweaking the size) and Active Matrix seems to enjoy silhouettes. On my Canon cameras I just set it to evaluate and maybe once a year I will hit a scenario where it fails so I’ll use spot or I’ll just use AE lock. On the D4 metering was a constant hassle – much more so than the D7000 and D800, so I often cursed it for missing the shot.

I have an equal disdain for the white balance modes of the Nikon which I admit are more accurate, but lack the warmth I enjoy from Canon. This is easily fixed in post-processing for RAW shooters, but I only use the RAW file as a emergency backup tool on the Canon platform because I like the in-camera JPEG’s so much. As a result, I found myself thinking traveling several years back in time where the in-camera JPEG was useless so being RAW only was required. This is something that’s just a difference from the platforms and Nikon would be nuts to change it, so this is where my comfort with the Canon platform shows.

As I mentioned in the D800 review, I’m also no fan of the rear focusing Nikkor 70-200mm f/2.8G ED VR II. However, I found it much more forgiving than the D800 thanks to fewer megapixels. On the D800 with that much resolution the slightest movement causes motion blur but on the D4 in Normal or Active VR modes I had great success with hand holding the lens at low shutter speeds. It’s a darker lens with less reach than Canon’s new 70-200mm f/2.8L IS II USM, so platform jumpers will be terminally ill when they experience the difference. It’s still a good lens though, so again this is just a platform difference.

In real-world use this isn’t the miracle camera that is going to blow you away. It’s a good camera, but everything I’ve seen from the new 5D Mark III (which shares a lot of technology with the 1D X) indicates that the Canon faithful will be rewarded for the their loyalty. With many great new lenses and cameras that allow you to focus more on composition, I think the reign of Nikon superiority for the last two generations has eroded. I thought of switching camps, but now I’m glad I didn’t.

If you liked this article…

You may also enjoy these articles as well:

• COMPARISION: Nikon D800 vs Canon 5D Mark III
• First Look: Nikon D800–Should Canon 5D-Mark III Users Switch?
• Parents Rejoice – No More Dark, Blurry and Out of Focus Pictures! (Canon 5D Mark III Real World Shots)
• Canon 5D Mark III Real World Shots–In-Camera HDR, High ISO, Flowers, Nature, People & Cars
• Canon 5D Mark III First Thoughts–WOW, Canon is BACK!!!! (REAL WORLD SHOTS)
• HANDS ON: Canon EOS-1D X (sample images and video)

More D4 articles coming soon!

Where to Buy or Rent

Click here to go to LensRentals.com (discount) to rent a Nikon D4 to help you decide if it’s the right camera for you. While you are at it you can pick up the same lens I used for this test here. Don’t forget that I have a discount for you as well.

You can also pick up the Nikon D4 from Adorama or B&H.

You can also pick up the Nikkor 70-200mm f/2.8G ED VR II from Adorama or B&H.

Conclusion

I’ll add more after I’ve had more time to digest the nearly 4000 images I took with this camera, but for now I’m confident enough to say that this is a great camera for Nikon shooters. If you have a D3s then I’d call it an optional upgrade only if you have the bucks. If you have a D3 or D700, then I think it’s an upgrade you’ll really enjoy.

I’d also put this camera down as a better practical studio and every day use camera than the D800. Unless you need the megapixels this or even the D300s is going to serve you better than the D800 I think.

Don’t take my word for it though, click here to rent one and see of yourself using our exclusive discount.

Disclosure

If you make a purchase using links found in this article, I may make a commission. LensRentals.com provided the loaner Nikon D4 and 70-200 lens for this review.