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Archive for August, 2018

Nikon Z7 pre-order deliveries will be delayed for some buyers

30 Aug

Nikon Japan has issued an apology advising Nikon Z7 buyers that some pre-ordered deliveries will be delayed. The company plans to start delivering its newly announced full-frame mirrorless camera to early buyers in September, but Nikon says high demand for the model will result in some customers receiving their products at a later date.

The apology also warns that Nikon Z7 orders placed in the future may take some time to deliver, though Nikon didn’t offer specific timeframes; the 500mm F5.6 PF ED VR lens will also be impacted. A recent report published by Myzaker claims Nikon is producing 20,000 of its Z7 mirrorless cameras per month at a factory in Sendai, Japan.

We received the following comment from Nikon US:

“Interest in the Nikon Z series has been exceptional. We will work to fulfill customer demand as quickly as possible and will be shipping product as scheduled beginning September 27.”

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D3500 gets smaller and cheaper, battery life gets a boost

30 Aug

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Nikon has replaced its entry-level D3400 DSLR with the aptly named D3500. The main change is that the body is similar to that of the even-smaller D5600, minus the articulating touchscreen display. The D3500 is also cheaper than its predecessor, with a list price of just $ 499 with an AF-P 18-55mm F3.5-5.6 VR lens, compared to $ 649 for a D3400 kit.

Nikon has also managed to increase battery life by 30% to 1550 shots per charge, despite using the same processor and battery as the D3400.

The D3500 has the same 24MP DX-format CMOS sensor, 11-point AF system, easy-to-use Guide Mode, 1080/60p video and Bluetooth-only connectivity as the D3400.

As mentioned above, the D3500 will sell for $ 499 with an 18-55mm kit lens. A two-lens kit which includes the 18-55 as well as a non-VR AF-P 70-300 F4.5-6.3G ED lens will be priced at $ 849. Both kits will ship in September.

Press Release

THE NEW NIKON D3500: CAPTURE AND SHARE YOUR TREASURED MOMENTS WITH THE LIGHTEST, FRIENDLIEST NIKON DSLR YET

The Redesigned Nikon D3500 is the Most Portable Entry-Level Nikon DSLR Ever, and the Easiest Way to Capture the Moments that Matter Most

MELVILLE, NY (AUGUST 30, 2018 at 12:01 A.M. EDT) – Today, Nikon unveiled the new Nikon D3500, a compact, entry-level DSLR that makes capturing the world easier and more convenient than ever. The 24.2-megapixel D3500 features an updated CMOS image sensor and Nikon EXPEED image processor to capture sharp details and vivid colors, and is packed with easy-to-use features that help first-time DSLR users start capturing better photos and video right away.

With its ergonomic and lightweight body, approximately 1,550 shots on a single charge and convenient features like Nikon SnapBridge1 and helpful Guide Mode, the Nikon D3500 is a great option for parents, travelers and photo enthusiasts who are eager to take their photography to the next level.

“The Nikon D3500 is ideal for consumers who are looking to easily capture the kinds of images that their smartphone simply cannot match, and share them seamlessly with family and friends,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The D3500 reaffirms our commitment to releasing convenient DX-format DSLR options for those just discovering photography.”

Capture Stunning Images and Video with Ease

The Nikon D3500 is bursting with high-performance features that help first-time DSLR users capture amazing images in a variety of situations. The camera’s broad ISO range of 100-25,600 makes it easy to capture sharp, clear images in low-light shooting situations with very little noise, while the 11-point autofocus (AF) System locks onto subjects, even fast-moving pets or children to help ensure that fleeting moments aren’t missed. The D3500 also features built-in Effect Modes to help entry-level users discover and express their personal creative vision.

Additionally, the Nikon D3500 is capable of continuous shooting up to five frames-per-second (fps), helping to capture candid moments with ease. The Nikon D3500 is also equipped with Full HD 1080/60p video capability. Users can switch from shooting photos to video at the press of a button, allowing them to capture spur-of-the-moment memories that will last a lifetime with stunning sharpness and clarity.

To further expand creativity, the in-camera Guide Mode gives new DSLR users the tools they need to learn about their new camera’s capabilities and become better, more knowledgeable photographers.

All these amazing features have been incorporated into a new ergonomic and lightweight design featuring a more comfortable, deeper grip and the slim monocoque body design similar to the Nikon D5600. The new design also features a more beginner-friendly and intuitive control layout, with a larger playback button and the most frequently-used controls all relocated to the right side of the camera’s LCD where they are easiest to access.

The redesigned Nikon D3500 is ideal for a fast-paced on-the-go lifestyle, making it the perfect companion for any family event or travel adventure.

Always Connected for Easy Sharing

Sharing photos with the ones you love is easier than ever with the Nikon D3500 and Nikon SnapBridge app. The D3500 uses Bluetooth2 to create an always-on3 connection between the camera and a compatible smart device, making it possible to seamlessly share 2MP images to social media as they are captured. Additionally, D3500 users will now be able to trigger their camera remotely via Bluetooth using SnapBridge. Nikon SnapBridge users can also access Nikon Image Space4, a free online image sharing and storage service that preserves memories in the cloud.

Pricing and Availability

The Nikon D3500 will be available in a two-lens kit option, including the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR and AF-P DX NIKKOR 70-300mm f/4.5-6.3G ED, for a suggested retail price (SRP) of $ 849.95* in September 2018. A Nikon D3500 single-lens kit with the AF-P DX NIKKOR 18-55mm f/3.5-5.6G VR will also be available for (SRP) of $ 499.95* in September 2018. For more information on the new Nikon D3500, please visit www.nikonusa.com.

Nikon D3500 specifications

Price
MSRP Body w/AF-P 18-55mm VR lens ($ 499), body w/AF-P 18-55mm VR and 70-300 F4.5-6.3 non-VR lenses ($ 849)
Body type
Body type Compact SLR
Body material Composite
Sensor
Max resolution 6000 x 4000
Other resolutions 4496 x 3000, 2992 x 2000
Image ratio w:h 3:2
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type CMOS
Processor Expeed 4
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-25600
White balance presets 12
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, Normal, Basic
File format
  • JPEG (Exif v2.3)
  • NEF (RAW, 12-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom No
Manual focus Yes
Number of focus points 11
Lens mount Nikon F
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Fixed
Screen size 3
Screen dots 921,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type Optical (pentamirror)
Viewfinder coverage 95%
Viewfinder magnification 0.85× (0.57× 35mm equiv.)
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Scene modes
  • Auto
  • Auto [Flash Off]
  • Child
  • Close-up
  • Landscape
  • Night Portrait
  • Portrait
  • Sports
  • Special effects
Built-in flash Yes (Pop-up)
Flash range 7.00 m (at ISO 100)
External flash Yes (via hot shoe or wireless)
Flash modes Auto, Auto slow sync, Auto slow sync with red-eye reduction, Auto with red-eye reduction, Fill-flash, Off, Rear-curtain sync, Rear-curtain with slow sync, Red-eye reduction, Red-eye reduction with slow sync, Slow sync
Flash X sync speed 1/200 sec
Drive modes
  • Single-frame
  • Self-timer
  • Quiet shutter-release
  • Quick response remote
  • Delayed remote
  • Continuous
Continuous drive 5.0 fps
Self-timer Yes (2, 5, 10, 20 secs (1-9 exposures))
Metering modes
  • Multi
  • Center-weighted
  • Spot AF-area
Exposure compensation ±5 (at 1/3 EV steps)
WB Bracketing No
Videography features
Resolutions 1920 x 1080 (60, 50, 30, 25, 24 fps), 1280 x 720 (60, 50 fps), 640 x 424 (30, 25 fps)
Format MPEG-4, H.264
Modes
  • 1920 x 1080 @ 60p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
  • 1280 x 720 @ 60p, MOV, H.264, Linear PCM
  • 1280 x 720 @ 30p, MOV, H.264, Linear PCM
Microphone Mono
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging No
HDMI Yes (mini-HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes SnapBridge (Bluetooth only)
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description EN-EL14a lithium-ion battery and charger
Battery Life (CIPA) 1550
Weight (inc. batteries) 365 g (0.80 lb / 12.87 oz)
Dimensions 124 x 97 x 70 mm (4.88 x 3.82 x 2.76)
Other features
Orientation sensor Yes
Timelapse recording No
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic releases first Pocket Cinema Camera 4K footage

30 Aug

Blackmagic Design has released three videos demonstrating the performance of its upcoming Pocket Cinema Camera 4K. It updates the Pocket Cinema Camera introduced in 2013, was revealed at NAB 2018 in April and is expected to launch next month.

Ahead of that launch, Blackmagic Design has published the videos “Nature” by Mark Wyatt, “Models Walking at Night” by John Brawley, and “Models Walking in Daylight” also by John Brawley, each showcasing the upcoming camera’s capabilities. This is the first time footage from the camera has been published.

Both Wyatt’s and Brawley’s experiences with the camera are provided in each video description. In describing his time with the Pocket Cinema Camera 4K, Wyatt said:

I had the Blackmagic Pocket Cinema Camera 4K for only a few days, but overall I was really impressed by it. The weight of the camera is very liberating, especially when you are used to using larger camera systems. The screen is big and bright enough to use in daylight, which I found great for judging focus and exposure. And, the colors too on the screen, were also nicely represented. In fact, I would argue it is Blackmagic’s best screen yet.

The Blackmagic Pocket Cinema Camera 4K features a full size Four Thirds HDR sensor offering a native 4096 x 2160 resolution and 13 stops of dynamic range. The upgraded model also features dual native ISO, a USB-C expansion port with direct support for external storage drives, a new multi-function grip design, and much more.

Via: Newsshooter

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Posing Large Families and Groups

30 Aug

Portrait sessions can vary in many ways, one being the size of the group you are photographing. Don’t be afraid, these tips for posing large families and groups will help you to create the perfect large group portrait no matter the location or the number of people.

Tips for Posing Large Families and Groups - family posed on the grass

What is considered a large group?

Large group portraits typically begin with six or more people. Large groups can include children or be made up of adults, it all depends on the type of session you are photographing.

It can also reach up to 20 people, especially if you are photographing a bridal party or a family with smaller family units all mixed together.

Tips for Posing Large Families and Groups - large family in front of trees

Posing rule for any type of grouping

The most useful posing rule for large groups is to use the triangle method.

This is where you pose people, either standing or sitting, or a mixture of both, and if you draw imaginary lines connecting their heads, they would create triangles. This method is the best so that you don’t pose people’s heads one on top of another (totem pole-like), creating an awkward photograph.

Tips for Posing Large Families and Groups - use triangles in posing

Use the triangle method to pose large groups.

This method works for any type of grouping with three or more people. However, for large groups of 10 or more, this posing rule is perfect so that everyone in the photo can be seen. It ensures nobody’s head is directly behind another person’s.

Large Families

Large families can range from nuclear families where there are more than five people or extended portraits where more than one nuclear family is going to be in the portrait.

Tips for Posing Large Families and Groups - family of 5 with young kids

The key is to pose the families in different combinations in the same spot so that you can offer your client more poses without having to move them too much.

Always pose the parents in the middle and then pose the rest of the family out from there. The parents are a great focal point in any portrait and from there, you can lead the eyes to the children or other families.

Tips for Posing Large Families and Groups - family in white and jeans

For example, for a portrait of a family of five, begin by placing the parents in the center of your photo first. Then, pose the taller children next to each parent. Smaller children can be put between the taller child and parent, creating the triangle.

Afterward, you can seat the family in the same order as when they were standing. If there are really small children, they can stand and hug another family member from behind. Be mindful of where their heads are positioned so that you create triangles and can see each family member in the portrait.

Tips for Posing Large Families and Groups - family standing and sitting

Pose the family sitting or standing.

In the same spot, you can then have the family stand up and separate a little. This gives them a little more space but still keeps them at arm’s length. Ask them to interact with each other in between posing for the camera.

Don’t forget the triangles in this pose as well! It can look a little off if you pose two family members who are the same height together. Try and move the family members from one side to the other to create more variety.

Tips for Posing Large Families and Groups - extended family standing

Give the family some space while posing them standing.

For larger families, walking is a good way to get more natural photos of everyone. Pose nuclear families together.

For example, if you have a family of 16 with grandparents, pose the grandparents in the center, then group the families on either side keeping the children with their parents.

Tips for Posing Large Families and Groups - extended family on the beach

Keep in mind that if it looks a little awkward, it probably will look that way in the photo as well. Taking more time and moving people around will ensure that you get the right posing even before taking the photograph.

Lastly, try posing some people away from the center to give the photo more depth. Facing everyone toward the center is a good starting point. However, with large groups, it’s best to try different poses so that you can offer your clients an assortment of different options.

Connect People

There is nothing more awkward than people standing together with their arms at their sides. With families, especially large groups, try and have your clients connect with each other.

You can do this by grouping the main people (the parents or grandparents) in the center facing each other hugging, and then group smaller families where each family member is touching another person. This shows connection within small family units in the large family photo and shows warmth.

Tips for Posing Large Families and Groups - family hugging b/w

Resting hands on shoulders, holding hands, hugging and tucking fingers behind, resting a hand on someone’s arm, or having someone lean on another’s shoulders are all good examples of connection.

Connecting people in a photo also gets rid of this most often heard question, “What do I do with my hands?”

Tips for Posing Large Families and Groups - family with 4 kids

For the people that you pose on the edges of the family portrait, be mindful that they look in toward the center so that they don’t seem out of place. If they are male and there are no children present, have them put one hand in their pocket. If they are female, make sure they aren’t standing too short or they will look out of place.

Chairs and Stools

If you are photographing at a venue, say a wedding reception, you may have the chance to use chairs or stools for posing.

In this case, try and place them throughout the photo so that they don’t line up perfectly. You’ll want to space them out according to the number of people in the portrait, always keeping in mind the triangle rule.

Tips for Posing Large Families and Groups - family photo

Chairs tend to work better than stools because the stool height can create really big valleys in your triangle posing if the person is too tall or too short in relation to those around them in the portrait.

Natural Posing

Once you have taken the best-posed portraits of the large group, have them loosen up a bit by asking them to do a group huddle or squeeze. This will get some laughs out of your clients and allow them to let their posed bodies rest for a bit.

Tips for Posing Large Families and Groups - family hugging

Asking the family to take a break can offer some great natural posing. This man had his whole family together after many years and was overcome by joy.

Ask your group to walk around, talk to each other, and just be. Look out for the children in particular, as they’ll usually act the most natural.

This collection of natural posing will often make for the most emotive portraits because they will portray the family just as they are. Even better if they are in a location that is fun or open where they can enjoy a walk or play games.

Photograph Family Units Separately

When you photograph families with grandparents or more than one family unit, make sure to photograph each family separately and together. Pose each family together in the larger portrait first, then, if you have time, mix them up a bit and have some fun.

Tips for Posing Large Families and Groups

Ask them to play, run, walk, do a group hug, or anything that will create authentic smiles and expressions from the oldest to the youngest.

Tips for Posing Large Families and Groups - individual portraits

Take time to get portraits of the adults as well. Either in couples or individually.

This also helps to break up a session with little children because they can get bored quickly.

Tips for Posing Large Families and Groups - individual photos of kids

Photograph children individually.

Try different combinations with the families, for example:

  • Grandparents with the grandchildren
  • Grandchildren together
  • All of the children of the parents together with and without the parents
  • Each couple in the family alone
  • Individuals portraits of each child
  • All the men together
  • All the women together
  • Generational photos
  • Cousins together
  • Brothers and sisters with and without in-laws
  • Each grandparent alone and together

Tips for Posing Large Families and Groups - different group posing options

Not all of those may apply to each large family portrait, but they can help you to add to the collection of poses that you’ll deliver to your clients.

Tips for Posing Large Families and Groups - family and kids photos

Take photos of the whole family together and then take photos of just the children.

Tips for Posing Large Families and Groups - 4 generations photo

Make sure to get generational photographs like this one of the 4 generations of men in the family.

Wrapping up

Before you wrap up the session, ask your clients if there is any portrait or pose that they specifically want. Some large families may bring a prop for everyone to use like shirts. There may also be a combination that you missed or didn’t think of that they would like to get.

Tips for Posing Large Families and Groups

Asking, “Is there anything else you’d like me to photograph before we leave?” can also be a great way to end the session once you feel you have gotten all of the best photos.

Giving your clients the chance to make sure they get all of the portraits they want is key for you to do a complete job with their photographs.

In conclusion

Posing large families can seem like a big challenge, however, using the triangle posing method can help tremendously in getting different combinations and poses. This will give your clients an assortment of poses and keep the whole experience fun and light which will make them want to get more portraits taken in the future!

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Microsoft introduces AI-powered audio and video transcription for OneDrive

30 Aug

Managing media files, especially when sharing them across a group of people is not always an easy task. This is especially true for video files. Today Microsoft has launched a new AI-powered media search function for OneDrive that should help simplify things.

The new feature is capable of transcribing audio and video files and displaying timestamped quotes alongside the media viewer, which is compatible with 320 file types. The new feature is an addition to Microsoft’s already available AI-powered photo screening system that can detect location, objects and text in image files.

As an end result all media files become fully searchable. For example, you could search for a scanned receipt by typing one of the items listed on it, or use a piece of dialogue or voiceover to search in video or audio files.

The new feature is designed to facilitate collaboration across larger groups but could certainly also provide benefits for photographers and especially videographers with large archives. The automated transcription services will be natively available for video and audio files in OneDrive later this year.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe won’t support older operating systems with its next major Creative Cloud update

29 Aug

If you’re not one to update your computer gear often, you might want to reconsider. Adobe has issued a notice future releases of Creative Cloud programs will no longer support older versions of MacOS and Windows operating systems.

‘As we prepare for our next major release of Creative Cloud, we wanted to share some information on updated operating system requirements,’ says Adobe. ‘To take advantage of the latest operating system features and technologies, the next major release of Creative Cloud will not support Windows 8.1, Windows 10 v1511 and v1607, and Mac OS 10.11 (El Capitan).’

Adobe notes all past and current versions of Creative Cloud applications will continue to work on the aforementioned operating systems. Creative Cloud Desktop — the management application for all Creative Cloud apps — will continue to be supported on Windows 7 or later and MacOS 10.9 (Mavericks) and later.

According to Adobe, ‘focusing [its] efforts on more modern versions of Windows and Mac operating systems allows [it] to concentrate on developing the features and functionality most requested by members, while ensuring peak performance that takes advantage of modern hardware.’

Articles: Digital Photography Review (dpreview.com)

 
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8 Tips to Help Find the Subject for Your Composition

29 Aug

Do you find it difficult to take photos which hold people’s attention? In our digital societies where image sharing is prolific, it is challenging to have people really take time to look at your prized photos. Image composition is key here.

So I want to give you eight tips on how to create pictures that will grab hold your viewer’s attention. People will want to stop and look rather than keep scrolling past your images.

Mask at a Chiang Mai Market - 8 Tips to Help Find the Subject for Your Composition

A good composition should have a clear main subject. It might be as plain as a landscape or a person’s face, or it might be something very small in the frame. If the composition is good the main subject will stand out like a sore thumb.

We all have a unique view of the world. Each of us takes in the world around us in different ways. If you have ever been on a group photo walk and taken part in a shared image review afterward, you will know this. Each photographer will have walked the same street, and the number of photographers that participated, there will be that same variety of pictures.

girl with Kayan Neck Rings  - 8 Tips to Help Find the Subject for Your Composition

1. Choose a subject you can relate to

What catches your eye? Why does it appeal to you? You should be asking yourself these things when you are taking pictures. If you choose subjects that you feel a connection with you will create more interesting photos. This is simply because you are interested in the subject yourself.

So your initial choice of subject should be something that you can connect with. My subject of the portrait below is a woman my wife and I chat with at the local market. We connect with her. I wrote about her and her late husband in a recent article.

Because I have this lovely friendship with her it is easier for me to make lovely pictures of her. I know she will happily pose for me. I also know I will get a more interesting photo of her when she is that bit more relaxed and not looking directly at me. In this photo, she was chatting with my wife who was standing beside me.

Sticky Rice Vendor - 8 Tips to Help Find the Subject for Your Composition

2. Isolate the subject

About the most obvious way to have your main subject stand out in your photos is to isolate it.

My favorite two ways to isolate my subject is to use a narrow depth of field or a dark background. By using either of these techniques your main subject will be unmistakable.

Choosing a wide enough aperture and having your subject far enough from the background will allow you to have your background blurred and your subject sharp. If you are using a camera with a small sensor or a smartphone with only one lens, this may not be possible.

When you have a dark background your subject will stand out, especially when there is more light on the subject than the background. To achieve this look find a spot where the background is in the shade and your subject has more light on it/them.

Kayaw portrait - composition

3. Choose your lens carefully

Your choice of lens can affect how you compose the image and how your main subject will be seen. Sometimes a wide-angle lens is better than a telephoto. Other times you will need a longer lens.

Getting close to your subject with a wide lens has a different effect than if you use a long lens and position yourself further away. If you are not sure about how this works the best way to learn is to experiment.

Try taking a series of photos of the same subject with various lenses or zoom settings and see in which photos your main subject looks the best.

Chaing Mai Fresh Market Vendor - composition

4. Frame your subject

Set up your subject how you want to see them. Move around your subject and study them from different angles. Watch closely how the background changes in relation to what’s behind them. Find an angle where your subject looks best.

Limit what you include in your frame. Fill your frame only with what is relevant to the photo you are making. If you can see anything in the frame which does not balance with or enhance your subject keep making changes until you can no longer see those things.

5. Exploit the foreground

Make use of something in the foreground of your composition to draw the viewer’s eye to your subject. This technique will add depth to your composition.

Use an object which is in front of your main subject, either in focus or out of focus. This can help bring the viewer’s eye to concentrate more on your subject.

Kayaw Ethnic Minority Girl by Kevin Landwer-Johan

6. Use leading lines and diagonals

Composing your photo so there are strong lines leading to your main subject will enhance it. The viewer’s eye will be lead along the lines to rest on your chosen subject. This is a very simple, very effective technique.

Diagonal lines used well in a composition can also be used to draw the viewer’s eye to the main subject.

7. Time it well

Choosing the right time to take your photo can help to bring attention to your main subject. When you are photographing in a busy location good timing is imperative. Having someone walk in front or behind your main subject just as you take your photo would detract from your main subject.

Watch carefully. When I am in a busy place I usually have both eyes open, rather than closing one. This way I can see more of what is happening around me and my subject and it helps me time my photos better.

Bust Chiang Mai Market by Kevin Landwer-Johan

8. Crop imaginatively

Don’t always stick to the rules of composition. Stepping outside the box can help highlight your main subject in unusual ways.

In this photo of the gold elephant statue against the gold wall of the chedi, everything tended to blend together. The harsh light was not helpful. Cropping tight to the elephant and only including half of it draws your attention there. The negative space balances the composition.

Temple Gold Elephant by Kevin Landwer-Johan

Conclusion

Try these tips sometimes. Be mindful of your main subject and whatever else is in your frame. If there are distractions, use one or more of these techniques to draw attention to your main subject and have it tell the story you want.

Having your primary subject stand out will make your photo easy for people to look at and relate to. But more than just having your subject stand out, you need to frame it so that it lets viewers see the subject and scene how you see it.

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Nikon Z7 sample gallery updated from New York and Japan

29 Aug

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We’ve just returned from two launch events for Nikon’s new Z system – one in New York, and one in Tokyo. After spending a little more time with two more pre-production cameras, we’ve updated our previously published samples gallery.

Read our first impressions review of the Nikon Z7

Articles: Digital Photography Review (dpreview.com)

 
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Which is better: Nikon Z7 vs Sony a7R III

29 Aug

Mirrorless compared: Nikon Z7 and Sony a7R III

Nikon has finally announced its first full-frame mirrorless camera, the Z7, and it probably won’t come as any surprise that it’s poised to take on the current high resolution mirrorless king: the a7R III. But, as closely as these cameras may appear on a spec sheet, there are some notable differences in addition to the similarities.

At a high level, both models offer the maximum resolution within their respective product lines, with the Z7 capturing 45.7MP while the a7R III captures 42MP. Each is also designed with both still photography and video in mind, with Nikon leveraging its new mirrorless platform to include video features not found on its DSLRs. Even their prices come in at a similar point, with the a7R III body retailing for $ 3200 while the Z7 lists for $ 3400.

On the following pages we’ll look at some specific comparisons between these two models to see where the similarities end and the differences begin.

Body and design

One of the things Nikon has done very well on the Z7 is to make the camera feel like… a Nikon. Its build quality is on par with the company’s mid-range DSLRs, it includes a large comfortable grip that should make most Nikon users feel right at home, it has well-placed buttons and includes as a joystick controller on the rear of the camera.

Sony’s mirrorless Alpha series has now gone through three generations of design and has reached a point where it’s feeling pretty mature. In particular, the a7R III gained a larger, more comfortable grip than earlier models and also includes a joystick controller on the back. But among our team the consensus is that the Z7 is more comfortable to use, not the least because Sony’s bigger grip is still far too small in height to fit most hands, causing increased fatigue over extended periods of use.

Both cameras claim to be weather-sealed, but the Nikon’s weather-sealing feels more substantial all around; It also includes seals around the battery door, something notably absent on the Sony.

The Z7 also includes a top plate information display, a feature carried over from Nikon’s DSLR designs, though now it’s an OLED panel instead of LCD; It’s something which may appeal to users moving over from a DSLR body.

We’re inclined to give the nod to Nikon in this particular comparison, though we realize that ergonomics represent a highly personal preference.

User interface

Nikon tells us one of its design priorities on the Z7 was to provide a seamless transition for Nikon users migrating from its DSLRs, and this is clearly reflected in the Z7’s user interface. The camera inherits its menu system directly from Nikon’s DSLRs, and the Z7’s menus are virtually identical to those on the D850, which we found generally easy to operate. In contrast, although Sony’s menus have evolved and are easier to navigate than in the past, they can still be a bit confusing or occasionally leave you searching for that one feature you know is hidden somewhere. Both cameras offer customizable ‘My Menus’, mitigating this issue.

Both cameras also include a rear touchscreen. The Z7 embraces its touchscreen, letting you use it for numerous functions including setting the AF point, interacting with the menu, and smoothly zooming and navigating through images in playback mode. It also enables a touch-friendly version of Nikon’s customizable ‘i’ menu, which lets you quickly change settings by tapping the screen. One curious omission is that the rear LCD can’t be used as a touchpad to control the AF point when holding the camera to your eye. Overall, however, we’re impressed with Nikon’s touchscreen implementation, which feels as though it’s an integral part of the camera’s design.

In contrast, the a7R III’s touchscreen feels like an ‘add on’. Sony’s decision to disable it by default only speaks louder to the issue that the touchscreen on Sony cameras is, currently, almost a nuisance. It doesn’t offer enough benefit to outweigh the negatives of accidental to touch operation.

Sure it includes a touchpad mode for moving the AF point with the camera is to your eye, but it’s cumbersome and unintuitive at best. Yes there’s the ability to tap on the rear screen to set the focus point but, again, it’s unresponsive and unintuitive at best, giving the sense that it’s been bolted onto the system rather than designed to be part of the user experience from the product’s inception.

Both cameras provide numerous options for customization, though we think most people will find the Nikon easier to pick up and use without spending a lot of time setting up the camera. However, the Sony certainly gets points for very deep features and customization options to meet your needs. There’s not a clear winner here – each provides advantages depending on how you plan to use the camera – but if we were forced to choose one overall implementation, it would be the Nikon.

Image quality

It’s hard to find fault with either camera when it comes to image quality as both are capable of delivering extremely high quality images when paired with good lenses, and from a practical standpoint the difference in resolution is negligible. Nikon tells us the Z7 uses a very similar sensor to the one found in the D850 (including its ISO 64 mode), and based on our experience so far we expect image quality and dynamic range performance to be similar to that camera. Of course, the a7R III is no slouch when it comes to dynamic range, either, performing similarly to the D850 despite having a base ISO of 100 and receiving a bit less light.

Generally speaking, we still prefer Nikon colors, though Sony has made significant improvements to its color science of late. However, Sony’s high ISO noise reduction is a step ahead, leaving behind a nice random noise pattern while Nikon’s JPEG engine can leave behind ‘rice grain’ artifacts.

We’ll be able to provide an in-depth comparison of image quality once we’ve completed our studio scene tests using Raw image files, however most users should be able to extract beautiful, high resolution photos from either of these cameras, particularly when working from Raw files.

Autofocus

Both cameras provide autofocus using on-sensor phase-detect autofocus systems. The Z7 features 493 phase-detect AF points with an impressive 90% horizontal and vertical coverage of the frame. It also features face detection technology plus body movement (designed to continue tracking a subject even if they turn their face away from the camera), and is rated down to -1EV with an F2 lens attached (-4 EV if you enable ‘Low Light AF’, albeit at the cost of much slower autofocus). Nikon also gets credit for its bright AF points which are easy to see in the viewfinder, compared to Sony’s grey AF points that can be difficult to see against, well, most backgrounds.

The a7R III has 399 phase-detect AF points, which cover a smaller area of the frame than the Nikon, but it also utilizes 425 contrast-detect AF points to provide greater coverage. It also includes Sony’s very effective ‘Eye AF’ system, one of our favorite features on the camera. Using Eye AF, the a7R III identifies and focuses on a subject’s eye, tracking it tenaciously if it moves within the frame. The Z7 doesn’t offer an Eye AF mode. The a7R III is rated to focus, with F2 lenses, at lower light levels than the Nikon (outside of Nikon’s ‘Low Light AF’ mode): an impressive -3EV in fact.

Although Nikon did a good job of translating its DSLR user experience to a mirrorless camera, one feature that didn’t make the transition is its 3D Autofocus system, which we consider best-in-class. Instead, the Z7 inherits a version of the AF system used by Nikon’s DSLRs in live view mode. Instead of simply placing an AF point over your subject and initiating focus, the Z7 requires you to press OK to enable subject tracking, and to press it again to change subjects. By comparison, Sony’s Lock-on AF provides a more seamless experience for subject tracking: like Nikon DSLR 3D Tracking, you simply place your AF point over your subject and half-press to initiate tracking. Eye AF even works in a similar way. This simple method of quickly selecting your subject on the fly is, sadly, completely missing from Nikon’s debut mirrorless, and that will undoubtedly impact fast-paced shooting with high demands on AF performance.

Overall, the a7R III wins here, despite the fact that Nikon has one of the best AF systems on the market in its DSLRs. If it can bring that system, or something similar, to its mirrorless cameras it may well change the equation.

Video

While Sony has a history of including a lot of video features on its cameras, video has typically been a secondary feature on Nikon’s DSLRs. With the Z7, that changes: Nikon is making a statement that it can do video, and do it well.

Both the Z7 and a7R III can record video up to UHD 4K/30p, as well as 1080/120p for slow motion (though the Nikon can only do this from a Super 35 region). One challenge common to both cameras is processing video from very high resolution sensors, though Nikon and Sony have essentially taken the same approach to solving the problem. Each camera can capture 4K using the full width of its sensor, but with limited sampling (line skipping on the Z7 and pixel binning on the a7R III). For best results in 4K, both provide the option to record from an oversampled Super 35 (APS-C) region of the sensor, which adds a crop factor to your focal length but results in very high quality 4K video.

Resolution isn’t everything, however, and the Nikon displays more rolling shutter in its full-frame 4K footage compared to the Sony. Both cameras offer Log gamma curves to support video shooters. In particular, Nikon has added its own Log gamma curve to the mix, and can output 10-bit 4:2:2 N-Log over HDMI. Internal recording is limited to 8-bit 4:2:0 at up to 100Mbps, and internal N-Log recording is not supported. In contrast, the a7R III supports internal Log capture using the S-Log2 and S-Log3 gamma profiles but only in 8-bit 4:2:0 color. HDMI output is also limited to 8-bit 4:2:2 signal, unlike the 10-bit found on the Nikon. The Sony offers an 8-bit implementation of Hybrid Log Gamma for capture and display on HDR TVs and monitors, which is particularly helpful because it’s not as extreme as other log profiles and, therefore, a bit more friendly with 8-bit capture. Furthermore, Sony’s HLG capture mode allows for perfect Raw histograms/zebras, so you can optimally expose your Raws.

Both models also offer an array of features designed to assist video shooters, including focus peaking, zebra warnings, and internal LUTs for use when shooting Log gamma (‘view assist’ on Nikon and ‘gamma display assist’ on Sony).

On the hardware side of things, both the Nikon and Sony include sensor-shift 5-axis image stabilization systems, as well as microphone and headphone jacks for recording and monitoring audio.

Thanks to on-sensor phase-detect autofocus, both cameras have very effective AF when shooting video. While we’ve come to expect excellent video AF from Sony cameras, this represents a significant step for Nikon and we’re very impressed. Video AF on the Z7 is among the best we’ve seen on any camera, dependably focusing on and tracking subjects, matching or even outclassing the a7R III. More importantly, the ease with which you can specify who or what you want to track on the Nikon Z 7 is far superior to what’s offered by any Sony camera, period.

We’ll call this a draw for now since it depends on your specific video requirements and workflow, but we will say that for ease of use, the Nikon Z 7 wins without question.

EVF and LCD

When it comes to electronic viewfinders, the Z7 and a7R III both deliver a high quality experience with 3.68M-dot OLED EVFs, though with minor differences in magnification (0.8x on the Nikon and 0.78x on the Sony).

However, despite the similar specifications, both EVFs are not created equal. The a7R III delivers the full resolution to the EVF in playback mode, but not when shooting, and resolution drops when shooting in burst mode. The Z7, on the other hand, maintains full resolution even while shooting, and uses a relatively complex optical design with aspheric elements and a fluorine coating. In its effort to provide a seamless experience to DSLR shooters, Nikon has created a bright, sharp display that provides an extremely lifelike experience. The Sony, though, has a slightly deeper eye-point, meaning its full extent can be seen from slightly (2mm) further away.

Both cameras also have tilting rear touchscreens, though the Nikon is the clear winner here with a 2.1M-dot screen vs. a 1.44M-dot screen on the Sony. As we’ve mentioned elsewhere, Nikon has also done a better job of integrating the touchscreen into the camera’s overall user experience, giving the impression that it was an integral part of the camera’s design from the ground up rather than a feature bolted on later.

Nikon wins this one.

Card slots and media

One of the more controversial aspects of the Z7’s design is Nikon’s decision to include a single card slot in the camera at a time when dual card slots have been considered an expected feature, particularly among premium models. The a7R III, in contrast, includes dual card slots with a variety of configuration options, including the ability to save all files to both cards for backup, using one card for overflow, or storing Raw files on one card and JPEGs on the other. Though it’s worth mentioning that Sony’s confusing interface for setting up the dual card slots might make you wish it only had one card slot to begin with.

Additionally, the two cameras use different card formats, with the Nikon relying on XQD cards while the Sony utilizes the more common SD format, though only includes support for UHS-II cards in one of its slots. Although Nikon may be somewhat forward-looking in going XQD-only (it tells us the camera will also support CFexpress media in a future firmware update,) if you’ve been using SD cards up until now you may need to budget for some additional memory along with the camera body.

Furthermore, the Z 7 doesn’t write all its files to the XQD card as fast as, say, a D5 – possibly due to the increased processing overhead of large 46MP images – hence the XQD experience on the Z 7 may not feel as finessed as with the D5. That may make you question the advantage of XQD on the Z 7, but it’s fair to say that, for now, XQD is more future-proof performance-wise than SD.

Lens mount and lenses

Nikon’s new Z-mount has a very short 16mm flange distance, slightly shorter than the 18mm distance on Sony’s E-mount, and both cameras have the potential to serve as ‘universal lens’ platforms for adapting older or third party lenses. However, while the E-mount has a relatively svelte 46.1mm diameter, the Z-mount is much larger at 55mm. In theory, this gives Nikon an advantage as it will be able to design fast lenses in the future without working around the constraints of the narrower E-mount.

At the moment Sony does have the advantage. Sony has been rolling out E-mount lenses for a number of years, and several third-party companies, including Sigma, have jumped on the bandwagon. There’s also a healthy ecosystem of E-mount lens adapters that have grown up around E-mount. However, the Z-mount has the potential to be the most adaptable mount ever thanks to its short flange distance, and in theory you could even adapt E-mount lenses to it. Unfortunately, Nikon isn’t sharing technical details of the mount, so third party makers will need to reverse engineer it.

Nikon has presented an impressive roadmap of Z-mount lenses, though only three have shipped to date. However, that doesn’t mean Nikon users will need to wait around for more lenses to appear. The company’s FTZ adapter will allow you to mount over 350 of its F-mount lenses to the system, including over 90 more recent lenses that will retain full functionality when mounted with the adapter. So, even without native Z-mount lenses, Nikon users should have plenty of options to choose from.

Sony probably comes out on top here today, but Nikon’s forward-looking Z-mount may give it a leg up in the future.

Extra features

While there are many differences between the Z7 and a7R III, many of them ultimately come down to different ways of implementing the same or similar features. However, each also has unique features not found on the other.

The Z7 includes built-in focus stacking and multi-frame mode, which provides an overlay of your existing frame as you take a second shot. It also includes an intervalometer for shooting time-lapse sequences and creating 8K time-lapse footage in-camera. This is a bit of a sore point for some a7R III users as there’s no built-in intervalometer and the camera does not have access to Sony’s PlayMemories store to add one.

While the a7R III lacks those features, it does have a pixel shift mode which combines four shots captured while shifting the sensor one pixel at a time. This can produce incredibly detailed images since it essentially eliminates the Bayer pattern on the sensor, ensuring full color data for every pixel, and also has the inherent noise and dynamic range benefits of combining four shots – though it has limited utility with moving subjects.

Performance

The Nikon Z7 can shoot 5.5 fps in continuous drive with live view updated between shots. If you need to shoot higher frame rates it’s possible to do so in High+ mode, which captures 8 fps in 14-bit Raw or 9 fps in 12-bit Raw. High+ maintains autofocus between shots, but locks exposure settings after shooting the first image. By comparison, the a7R III can shoot up to 10 fps with continuous AF/AE.

Speed matters, but so does a camera’s buffer, and the Z7 doesn’t have a large one. It fills up after 23 12-bit Raw files, 18 14-bit Raw files, or 25 fine quality JPEGs. Even though its fast XQD card can clear the buffer fairly quickly, you still notice the limit when you hit it. The a7R III’s buffer can store 28 frames of uncompressed Raw files or 76 frames when shooting compressed Raw, giving it an edge over the Nikon.

Of course, battery performance is important as well, and there are some big differences here. The a7R III uses Sony’s new NP-FZ100 battery, which has a CIPA rating of 650 shots, though in practice we typically see much better battery life than that. The Z7 uses Nikon’s EN-EL15b battery, an updated version of the D850’s battery which is capable of charging over USB. (Nikon says the older EN-EL15a will work in the camera as well, but won’t support USB charging.) Although we appreciate Nikon’s desire to keep a consistent battery format across cameras, there’s a cost to maintaining compatibility with earlier models: the Z7 has a CIPA rating of only 330 shots. We’ll get a better sense of how it performs in the real world as we continue testing, but the advantage definitely tilts in Sony’s direction, by a large margin in this case.

Conclusion

Sony’s early adoption of full-frame mirrorless means that it has owned the category until now, but the Z7 is a shot across the bow from Nikon. Overall, it’s matched very well against the a7R III, and some might argue that it even follows some of the Alpha’s design cues while still feeling distinctly Nikon-like in your hands. Both cameras are capable of delivering stunning image quality when paired with good lenses, so the main differences come down to other factors.

Nikon has done an excellent job of creating a good user experience on the Z7, despite it being a first-generation product. Ergonomics are generally quite good, the EVF is bright, crisp, and responsive, and the touchscreen is well integrated into the overall experience. It also steps up Nikon’s game with respect to video, including very good 4K video, support for 10-bit 4:2:2 N-Log via HDMI and potentially the best video AF we’ve seen on a mirrorless camera. What we really miss, however, is the 3D Tracking system found in Nikon’s DSLRs, which has consistently been best-in-class.

The a7R III has its advantages as well. In our opinion, it still has a better AF experience than the Nikon thanks to Eye AF and Lock-on AF, and its dual card slots will be a significant differentiator for a lot of users. It also boasts superior performance when it comes to continuous shooting and battery life. Sony has a much larger lineup of native lenses for its system, and the ecosystem of third-party adapters that has evolved around E-mount is impressive. Of course, Nikon’s Z-mount has a lot of future potential, but its decision not to share technical details of the mount means third parties will need to reverse engineer it.

The good news is that we now have two companies committed to full-frame mirrorless systems, and that should mean more competition and, ultimately, better products and more choices for consumers.

Articles: Digital Photography Review (dpreview.com)

 
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The PureView trademark is now owned by HMD Global

29 Aug

Nokia’s PureView moniker used to stand for innovation in mobile imaging and excellent smartphone camera performance. With their large sensors and Zeiss-designed lenses devices like the Nokia 808 PureView or the Lumia 1020 PureView were a step ahead of the competition at the time.

Unfortunately, that wasn’t enough to keep the Nokia smartphone division afloat and not too long after it was sold to Microsoft in 2013, smartphone production was ceased completely. Today the Nokia smartphone brand is owned by HMD Global and now it has emerged that the Finnish company has also secured the rights to use the PureView trademark.

More recently HMD Global has launched several Nokia phones with a retro twist, for example redesigns of the legendary Nokia 3310 and 8110 phones. So could we see an updated version of the 808 PureView or Lumia 1020 at some point in the nearer future?

A 2018 version of the 808 or 1020 would likely not come with one large sensor but could, according to some rumors, feature a circular multi-lens setup. IFA in Berlin, where we will likely see several new Nokia models, is around the corner. Hopefully there’ll be a PureView-branded model among the new offerings.

Articles: Digital Photography Review (dpreview.com)

 
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