360Photography

Category: Uncategorized

  • Luna Display turns the iPad into a second screen, adds touch control to the Mac

    The makers of the Astropad, an iOS app that turns your iPad into a graphics tablet for the Mac, have announced Luna Display, the first and currently only hardware solution that turns an iPad into a wireless second display for your Mac computer.

    Luna is available for USB-C or Mini DisplayPort and works with your existing WiFi. The device allows you to use your Mac directly from the iPad with full support using external keyboards, Apple Pencil and Apple touch interactions including pinching, panning and tapping.

    Its makers say that Luna, unlike software-based solutions, can tap into the processing power of your Mac’s GPU, allowing for a virtually lag-free user experience and images without glitching, artifacting or blurriness.

    The team behind Luna is funding the project on Kickstarter where you can pre-order the device for $ 69. Delivery is expected for May 2018. The crowdfunding project has already reached its goal multiple times over, so production and shipping should go ahead as planned.

    Articles: Digital Photography Review (dpreview.com)

  • Throwback Thursday: the Nikon D700

    Back in 2007 (yes, that really was 10 years ago), the D3 made quite a splash in the digital camera world. It was Nikon’s first ever full-frame DSLR, and while it couldn’t compete with Canon’s EOS-1Ds Mark III in terms of resolution, it did come with some of the best low-light performance around.

    Less than one year later, Nikon blew everyone away by offering a ‘baby D3’ in the D700. With remarkably few significant disadvantages – shooting speed, a single card slot and the 95% coverage viewfinder being the significant ones – the D700 looked a bargain, getting you D3 image quality for $ 1700 less. Not bad, Nikon, not bad.

    There have been ‘compact’, full-frame followups over the years, but it didn’t look as though Nikon was really interested in offering a clear successor to the D700. The D800 had tons of resolution but gave up some speed, the D610 had an unimpressive autofocus system, and the D750 made some shutter mechanism and build quality compromises, despite its all-around capability.

    With the D850, can we concretely say that Nikon has finally created the spiritual successor to the D700? We’re not sure we’d go that far, but what the D850 does represent is a return to Nikon throwing almost everything it can into a pro-grade camera body with very competitive pricing. As with the D700 versus the D3, the D850 makes a compelling argument to ignore the D5 unless the extra frames per second and the built-in grip really matter to you. In many ways, it will be a better camera for many photographers than a D5.

    So as you soak up the specs of Nikon’s newest full-frame offering, we invite you to take a trip down memory lane and revisit our original 32-page review of the Nikon D700 to see just what made that camera so special (and see how it got a whopping 25 ‘pros’ to only 3 ‘cons’).

    Read our original Nikon D700 review

    Articles: Digital Photography Review (dpreview.com)

  • Hands on: Nikon D850

    Hands on: Nikon D850

    Before today, Nikon DSLR shooters seeking a new pro-level body had to choose between the resolution-oriented D810 or speed-oriented Nikon D5. But no longer – the D850 is built for speed and resolution.

    It uses a 45.7MP BSI full-frame sensor – a sizable resolution jump over the D810’s 36.3MP chip. Its maximum burst rate with autofocus is 7 fps – also a nice jump over the D810’s 5 fps. And, if you need more speed, combining the new MB-D18 grip with an EN-EL18b battery allows the D850 to shoot at 9 fps for up to 51 Raw files (using an XQD card).

    That’s not as fast as the 12 fps burst offered on the Nikon D5, but it’s enough speed for most sports or action photography, with more than twice the pixel count offered by the D5 (and at almost half the price).

    BSI Sensor + ISO 64

    The D850 (shown here with the optional MB-D18 grip attached) is Nikon’s first full-frame camera to utilize a backside-illuminated sensor. This design tends to result in greater efficiency because there’s no circuitry taking up space in front of the pixels. This should boost performance in low light situations where you might employ high ISOs.

    On top of that, BSI has the effect of bringing the light-sensitive elements of the chip closer to the surface, which should improve the ability of pixels near the edge of the sensor to accept light rays approaching at oblique angles, when shooting with wide-angle lenses.

    Plus the D850, like its predecessor, still offers a base ISO of 64, which should give a high level of dynamic range (bordering on medium format) when working in bright or high contrast situations. On the other end of the spectrum, its new top native ISO is 25,600, expandable to 102,400.

    AF System

    Every aspect of the D850’s autofocus system is inherited from the D5, including the 153-point autofocus array, Multi-CAM 20K AF sensor and a dedicated AF processor. This is great news because we love how the AF performs on the D5. In short, it just works.

    Plus, the D850 uses input from a 180,000-pixel metering sensor (the same found in the D5/D500) which should result in outstanding subject recognition (including face detection) when using Nikon’s 3D Tracking or Auto area modes. It even kept up during burst shooting in our limited time with the camera. By comparison, the D810 uses a 91k-pixel metering sensor for tracking/recognition, and ‘3D’ subject tracking slows down during bursts.

    The D850’s 153-point system also covers 30% more of the frame than the D810’s 51-point system. And of those 153-points on the D850, 99 are cross-type, compared to 15 on the D810. All points focus down to -3 EV, with the center one working down to -4 EV. This should be a huge improvement from the -1 EV limit we found with the D810’s AF system.

    The D850 also gains Nikon’s Auto AF Fine Tune feature. This feature is a simple and painless way to calibrate your lenses. Unfortunately, users can only still save a single adjustment based on the central AF point for one focal length, so it’s less useful for zoom shooters. And you’re out of luck if off-center points require a different value from more central ones.

    Viewfinder

    The viewfinder on the D850 is big and beautiful; in fact, it’s the largest viewfinder of any full-frame Nikon DSLR. Thanks to new optics, including an aspherical element and a condenser lens, the magnification is a whopping 0.75x with an eyepoint of 17mm. Elements of the finder also use new coatings to cut down on reflections and flare. As you’d expect in a camera of this caliber, viewfinder coverage is 100%.

    This larger finder comes at the cost of the pop-up flash. But the D850 still supports wireless flash via the SB-5000 and WR-A10/WR-R10 transceiver.

    Full-width 4K video

    The D850 becomes Nikon’s first full-frame DSLR to offer 4K video using the full width of its sensor (Sony makes several mirrorless models that can do this). This is a big selling point over the 1.5x crop you face shooting 4K on the D5. UHD video can be captured at 30, 25 and 24p. We believe the camera captures video by binning pixels (combining information from clusters of pixels to generate the output), which is better than line skipping, but not as good as oversampling (as the Sony a9 does).

    Sadly, AF during video capture is still contrast-detect only, which is prone to hunting, unlike Canon’s excellent Dual Pixel AF system. Nikon lenses tend to also be noisy when focusing. And there is no peaking or stabilization offered when capturing 4K. Videographers do have access to Auto ISO, Power Aperture and a new Attenuator option for better audio control.

    When shooting HD video (at up to 1080/60p), the D850 offers both focus peaking as well as digital stabilization. There is also a 1080/120p mode, but it only saves video files in 4 or 5x slow motion (you can’t get the full speed footage).

    Flip up/down touchscreen

    The D850 becomes the first Nikon of its class to receive a flip up/down rear LCD and uses the latest high-resolution panel with 2.36 million dots (1024 x 768 pixels). This lovely screen makes image review look especially good. Just don’t get caught ‘chimping’ too much.

    Did we mention it’s also a touchscreen? And unlike some of Nikon’s past DSLR touch-implementations, the touch function is active in menus, live view, playback and while shooting. However, it can’t be used for touchpad AF when one’s eye is to the finder, like on the Nikon D5600. Though unlike the D5600 (and D810), the D850 has a dedicated AF joystick.

    Range of interval/multi-shot options

    The D850 offers an in-camera 4K time-lapse mode which downscales full-res images and outputs it as a video. You can also shoot full-res 8K time-lapses using the interval timer. And users can use auto exposure modes while using the interval timer (‘A’ or ‘P’ exposure modes) with an option for in-camera exposure smoothing. Plus, a new silent interval timer option uses an electronic shutter instead of the mechanical one, to reduce shutter noise, vibration and wear.

    The D850 also gains a new focus shift mode, which captures multiple images (up to 300) shot at varying focus distances (in increments chosen by the user) and saves them in a folder for assembly in post. Both the interval timer and focus shift mode offer a new option that not only places each ‘set’ of images into a unique folder, but also resets numbering for each set.

    Redesigned body

    The body of the D850 has received some much-appreciated refining. The grip is deeper, longer and all-around less chunky than that of the D810. This makes it much more comfortable to hold. The camera also gets the D5’s AF joystick, and better weather-sealing as a result of the loss of a pop-up flash.

    Perhaps most importantly though: the mirror and shutter mechanisms have been redesigned. We experienced severe mirror and/or shutter-induced vibrations at certain shutter speeds with long lenses on the D810; however, in our brief time with the D850 and the same problematic lenses, we experienced no issues at all.

    Other improvements come in the form of illuminated buttons on the back and the inclusion of an XQD and UHS-II compliant SD slot. The D850 uses the EN-EL15a battery and can shoot 1840 shots per charge, per CIPA rating.

    But…

    We’re pretty impressed by the D850’s specs, but we do have some complaints. Chief among them is Snapbridge. Sure, the D850 has both Wi-Fi and Bluetooth connectivity, but SnapBridge – the app used to connect, control and view/transfer – has not been improved upon since we last tested it. And overall we’ve found it to be both simplistic in terms of capability and inconsistent in terms of connectivity.

    We’re also disappointed at the lack of an improved electronic first curtain implementation (it remains the same, only available in Mup mode with two shutter button presses), perhaps there isn’t much to worry about…

    Final thoughts

    But by and large the D850 (on the right) knocks our socks off – its spec list matches up nicely with our wish list, and the camera itself seems to handle exceptionally well. In short, it seems like the perfect marriage of speed and resolution. Finally, it seems that DSLR shooters can have it all.

    Articles: Digital Photography Review (dpreview.com)

  • Nikon D850 offers 45.7MP BSI FX-format sensor, 7 fps bursts, 4K video

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    Nikon appears to have pulled out all the stops for its D850, announced today. It combines high resolution and speed: a full-frame 45.7MP BSI CMOS sensor with no low pass filter capable of full resolution 7 fps bursts with AF/AE (boosted to 9 fps when paired with the optional MB-D18 battery grip and EN-EL18a/b battery). The D850 also offers the D5’s excellent 153-point AF system, as well as a native ISO range of 64-25,600 (expandable to 32 or up to 102,400).

    The D850 also improves on the D810’s video offerings with the inclusion of full-frame 4K 24/25/30p capture. Focus peaking (1080p-only) and zebra stripes are provided for videographers, as well as uncompressed 4:2:2 8-bit 4K HDMI output and microphone/headphone inputs.

    Like the D500, the D850 offers a tilting 3.2″ 2.36M-dot touchscreen. The camera includes dual card slots: one XQD, one SD. SnapBridge provides built-in connectivity via Nikon’s mobile app, but for more flexible wireless support you’ll have to add a Wi-Fi adapter. The D850’s magnesium alloy body is weather sealed, and illuminated controls provide better visibility in dark situations.

    The Nikon D850 is expected to go on sale in September; MSRP is set at $ 3,299.95. For a closer look at the D850’s many improvements and added features, head to our First Impressions Review.

    Press release

    FULL-FRAME, EXTREME SPEED & EPIC RESOLUTION: THE NEW NIKON D850 DSLR DEFINES PROFESSIONAL VERSATILITY

    New Nikon DSLR Offers Incredible Combination of Performance, Image Quality and Thoughtful Features

    MELVILLE, NY (Embargoed until Thursday, August 24, 2017 at 12:01 A.M. EDT) – Today, Nikon announced the new Nikon D850, a powerful full-frame DSLR camera that provides professional photographers and multimedia creators with an impressive combination of resolution and high-speed performance. The 45.7-megapixel D850 is Nikon’s first DSLR with an FX-format, back-side Illuminated (BSI) CMOS sensor for image quality that is nothing short of majestic, allowing professionals to create stunning, high resolution still images and full-frame 4K UHD video. Despite its monumental resolution, the D850 is capable of an astoundingly fast capture rate of up to 7 frames-per-second (fps) or 9-fps with the optional battery grip and EN-EL18a/b battery, while offering a range of new user-friendly features requested by Nikon shooters around the world.

    The Nikon D850 is a serious tool that expertly enables every kind of photographer. Whether capturing for client work or personal projects, the camera delivers intense clarity and accurate skin tones for portraits, with the added benefit of low-light ability for weddings and events. It is versatile enough to be used for landscapes and fine art where broad dynamic range is critical, for sports that require a high frame rate and decisive AF, or for video creators who want 4K UHD flexibility. Whether in the studio or on-location, from the catwalk or the scenic overlook, to a wedding ceremony or night sky, the Nikon D850 is the tool that can capture it all, with astounding resolution and speed.

    “The Nikon D850 is much more than a camera, rather it’s a statement that Nikon is continuing to listen to customer needs, to innovate for the next 100 years, and bring to market a full-frame DSLR that exceeds the expectations of the professionals that rely on this caliber of camera to make a living,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc.

    “I have had the pleasure of putting this camera through its paces, and there is nothing like it. The Nikon D850 introduces a whole new generation of photographers to medium format quality; the resolution is out of this world, and the tonality and range are at a level I never thought possible from a DSLR,” said Nikon Ambassador and award-winning wedding photographer Jerry Ghionis.

    The Ultimate Combination of Resolution and Speed
    The Ultimate Combination of Resolution and SpeedThe Nikon D850 is the new benchmark in DSLR image quality, with an unprecedented combination of resolution, dynamic range, ISO and processing power. The 45.7-megapixel CMOS sensor approaches medium format-level resolution and forgoes an optical low pass filter (OLPF) to harness the maximum sharpness of NIKKOR lenses, with fantastic fidelity, tonality and clarity. This is also Nikon’s first DSLR to incorporate a BSI CMOS sensor, which captures light more efficiently, resulting in a wider dynamic range and low-noise image capture. Beyond the immense resolution, the Nikon D850 offers photographers superior performance:

    • High-Speed Capture: The D850 is capable of shooting up to 7 fps at full resolution, with full AF/AE or 9 fps at full resolution with the addition of an optional battery grip (MB-D18) and EN-EL18a/b battery (Buffer approximately 51 frames of 14-bit lossless RAW capture / 170 frames of 12-bit lossless).
    • Wide ISO Range: The D850 offers a wide ISO range from 64-25,600 (Expandable down to ISO 32, up to 102,400).
    • Flagship Focus System: The D850 uses the Nikon D5’s 153-point, Multi-Cam 20K AF system, which features 99 cross type sensors, 15 of which are sensitive to f/8.
    • EXPEED 5: Behind every great sensor is a great image-processing engine. EXPEED 5 is Nikon’s most powerful engine yet, allowing for fast data readout and swift image processing, improved low light performance, high speed shooting, full-frame 4K UHD video capture and greater power efficiency for longer battery life.

    Innovation Built for the Needs of Professional Creators
    In addition to its phenomenal performance, the Nikon D850 hosts a range of innovative and thoughtful new features that enhance workflow, and will leave every photographer or content creator wondering how they ever lived without them:

    • Tilting LCD Touchscreen: The 3.2-in., high resolution (2359k-dot) LCD monitor offers Nikon’s most extensive touch functionality ever.
    • Silent Shooter: The D850 offers the ability to operate with an electronic shutter in Live View. When in this mode, users can shoot in complete silence, which is ideal for weddings, ceremonies and events where the shutter sound is discouraged. The electronic shutter operates at up to 6 fps (AF/AE locked) at full resolution, while an additional mode enables 8.6-megapixel capture in DX image area mode at up to 30 fps.
    • Radio Flash Control: Like the D5 and D500, the D850 also supports Radio-controlled Advanced Wireless Lighting with the optional SB-5000 Speedlight and WR-A10 and WR-R10 accessories.
    • RAW Processing Power: Users can choose from 3 sizes of RAW files to enhance workflow, including Large (45.4-MP), Medium (25.6-MP) and Small (11.4-MP). Additionally, the D850 lets users batch process RAW files in camera, saving time in post-production.
    • Nikon’s Widest and Brightest Optical viewfinder: The 0.75x viewfinder magnification is the highest ever for a Nikon DSLR, and offers a wide and bright view of the frame to easily track and compose subjects.
    • Phenomenal Battery Performance: Shoot all day and well into the night with up to 1,840 shots at full resolution or approximately 70 minutes of video on a single charge. Users who opt for the additional control and handling benefits of the optional battery grip can expect up to 5140 shots (CIPA standard).
    • Dual Card Slots: The D850 features dual memory card slots — XQD for high-speed capture and transfer, as well as readily available SD media.
    • Illuminated Buttons: Buttons that light up at the turn of a dial increase visibility and allow easy shooting at night or in low-light scenarios.
    • Focus Stacking: Ideal for macro, product and landscape photographers, the Focus Shift Photography feature of the D850 is high resolution meets high magnification. This feature lets the user automatically shoot up to 300 shots at adjustable focus step intervals to infinity which can be easily assembled into a focus-stacked image using third party software.
    • Negative/Positive Scanning: With the optional ES-2 Film Digitizing Adapter and compatible Micro-NIKKOR lens, the camera enables super high-resolution digitizing of 35mm slides or negatives and converts them in-camera to positives
    • Durable Construction: Ready for any field assignment or production environment, the rugged and weather-sealed magnesium alloy body lets users work with confidence in a wide range of tough environments.
    • Square shooter: Photographers can choose from five formats, including FX-format, 1.2x, DX, 5:4, or 1:1 square with viewfinder shading for easy composition.
    • Built-in Wi-Fi1 & Bluetooth2 Connectivity: Users can seamlessly send images to their compatible smart devices through an always-on Bluetooth Low Energy (BLE) connection or through Wi-Fi. Nikon SnapBridge3 also gives the ability for remote capture and preview.

    Multimedia Production Ready
    Multimedia content creators and filmmakers alike will appreciate a wide range of considerate, industry-leading new features that can help to elevate any production:

    • Full-frame 4K UHD at 24/30 fps: The D850’s FX BSI CMOS sensor allows 4K UHD output at a full-frame width at 16:9, to increase lensing options and provide a true field of view.
    • Slow Motion: Creators can also capture Full HD 1080p at up to 120 fps (4x or 5x) for dramatic slow-motion video capture.
    • Focus Peaking: When shooting Full HD or in Live View for stills, focus peaking can be enabled which highlights in-focus subjects in the frame to ensure sharpness.
    • 8K / 4K Time-lapse: Users can create 4K UHD time-lapse videos easily in-camera, or can use the built in intervalometer to capture images for an ultra-high resolution 8K time lapse that can be assembled in post for those who want the ultimate in video quality.
    • Zebra stripes: The D850’s highlight display mode uses zebra patterns to quickly spot overblown highlights. What’s more, the zebra patterns come in two varieties, selectable according to the patterns and textures of the subjects.
    • HDMI output: Using HDMI, users can record uncompressed, broadcast quality 4:2:2 8-bit 4K UHD footage, directly to an external digital recorder while simultaneously recording to a card.
    • Audio Control: The D850 features an onboard stereo microphone, as well as inputs for headphones and microphone. The camera also features a new audio attenuator to regulate sound levels.

    THE FX-Format advantage
    The amazing performance and image quality of the Nikon D850 is best coupled with the wide variety of NIKKOR lenses, heralded for their unmatched image quality, color reproduction and optical characteristics. For maximum fidelity, Nikon’s Gold Ring Series of lenses provide the highest caliber of optical performance needed for such immense resolution applications.

    Price and Availability
    The Nikon D850 will have a suggested retail price (SRP) of $ 3,299.95*, and will be available in September 2017. The MB-D18 Multi Power Battery Pack will have an SRP of $ 399.95*, while the ES-2 film digitalizing adapter will have an SRP of $ 149.95*. For more information on the latest Nikon products, please visit www.nikonusa.com.

    Nikon D850 specifications

    Price
    MSRP $ 3299
    Body type
    Body type Mid-size SLR
    Body material Magnesium alloy
    Sensor
    Max resolution 8256 x 5504
    Image ratio w:h 1:1, 5:4, 3:2, 16:9
    Effective pixels 46 megapixels
    Sensor photo detectors 47 megapixels
    Sensor size Full frame (35.9 x 23.9 mm)
    Sensor type BSI-CMOS
    Processor Expeed 5
    Color space sRGB, Adobe RGB
    Color filter array Primary color filter
    Image
    ISO Auto, 64-25600 (expands to 32-102400)
    Boosted ISO (minimum) 32
    Boosted ISO (maximum) 102400
    White balance presets 14
    Custom white balance Yes (6 slots)
    Image stabilization No
    Uncompressed format RAW + TIFF
    JPEG quality levels Fine, normal, basic
    File format
    • JPEG (Exif v2.3)
    • TIFF (RGB)
    • Raw (Nikon NEF, 12 or 14 bit, lossless compressed, compressed or uncompressed)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp No
    Manual focus Yes
    Number of focus points 151
    Lens mount Nikon F
    Focal length multiplier 1×
    Screen / viewfinder
    Articulated LCD Tilting
    Screen size 3.2″
    Screen dots 2,359,000
    Touch screen Yes
    Screen type TFT LCD
    Live view Yes
    Viewfinder type Optical (pentaprism)
    Viewfinder coverage 100%
    Viewfinder magnification 0.75×
    Photography features
    Minimum shutter speed 30 sec
    Maximum shutter speed 1/8000 sec
    Exposure modes
    • Program
    • Aperture priority
    • Shutter priority
    • Manual
    Built-in flash No
    External flash Yes (via hot shoe or flash sync port)
    Flash modes Front-curtain sync (normal), Rear-curtain sync, Red-eye reduction, Red-eye reduction with slow sync, Slow sync
    Flash X sync speed 1/250 sec
    Drive modes
    • Single-frame
    • Self-timer
    • Quiet shutter
    • Quiet continuous
    • Mirror-up
    • Continuous low
    • Continuous high
    Continuous drive 9.0 fps
    Self-timer Yes (2, 5, 10, 20 secs)
    Metering modes
    • Multi
    • Center-weighted
    • Highlight-weighted
    • Spot
    Exposure compensation ±5 (at 1/3 EV, 1/2 EV, 1 EV steps)
    AE Bracketing ±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV steps)
    WB Bracketing Yes (2-9 exposures in 1, 2, or 3EV increments)
    Videography features
    Format MPEG-4
    Modes
    • 3840 x 2160 @ 30p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
    • 3840 x 2160 @ 24p, MOV, H.264, Linear PCM
    • 1920 x 1080 @ 120p, MOV, H.264, Linear PCM
    • 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 @ 50p, MOV, H.264, Linear PCM
    Microphone Stereo
    Speaker Mono
    Storage
    Storage types SD/SDHC/SDXC (UHS-II supported) + XQD
    Connectivity
    USB USB 3.0 (5 GBit/sec)
    HDMI Yes (mini HDMI)
    Microphone port Yes
    Headphone port Yes
    Wireless Built-In
    Wireless notes 802.11b/g + NFC + Bluetooth 4.1 LE
    Remote control Yes (wired, wireless, smartphone)
    Physical
    Environmentally sealed Yes
    Battery Battery Pack
    Battery description EN-EL15a lithium-ion battery & charger
    Battery Life (CIPA) 1840
    Weight (inc. batteries) 1015 g (2.24 lb / 35.80 oz)
    Dimensions 146 x 124 x 79 mm (5.75 x 4.88 x 3.11″)
    Other features
    Orientation sensor Yes
    Timelapse recording Yes (4K or 8K movies)
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • First look video: Nikon D850

    The Nikon D850 looks to be an excellent upgrade over its predecessor, the D810. The resolution has jumped from 36.3MP to 45.7MP, the burst rate has jumped from 5 to 7 fps (9 fps with the right accessories), and the entire AF system has been yanked directly from the flagship D5. Not to mention the D850’s full sensor width 4K video, a first for a Nikon DSLR.

    That’s just a little bit of what the D850 has up its sleeve. Watch the video to find out more.

    Articles: Digital Photography Review (dpreview.com)

  • Godox unveils AD-L LED lamp head for its AD200 pocket-sized flash

    Godox has launched a new AD-L LED head for its Witstro AD200 portable ‘pocket’ flash, enabling users to swap the speedlight or bare-bulb head out for an LED unit. The AD-L LED head features 60 LEDs and an overall output of 3.6 watts, making it ideal for use as a lamp when necessary. The LED head simply slides into place on the AD200, making for rapid exchanges between heads.

    The AD-L LED head is currently listed as available online for $ 25.

    Articles: Digital Photography Review (dpreview.com)

  • Arri repurposes internal filter tech to create a line of heavy-weight ND filters

    Cinema equipment powerhouse Arri has introduced a new line of full spectrum neutral density filters that are designed to be used in front of the lens. The company says it has drawn on its expertise creating internal filtration systems for its ALEXA Mini and the AMIRA movie cameras to produce the new line of eight strengths that range in optical density from 0.3 to 2.4 (1 to 8 stops).

    Arri says it has used coatings to reflect infrared wavelengths, which should help maintain a neutral color balance and good contrast, and that the filters are made with Schott B270i glass for its purity and even, parallel surfaces. With new technologies such as high resolution capture and output, as well as HDR viewing, better quality filters are required at the shooting stage, says Arri.

    These filters will be available in 6.6 x 6.6in/167.6mm x 167.6mm and 4 x 5.65/101.6mm x 143.5mm sizes will weigh a solid 0.609lbs/276.6g and 0.316lbs/143.5g respectively. No prices have been released yet, but these should be some of the best ND filters on the market when they do launch.

    For more information, see the specs below or visit the Arri website.

    Manufacturer Information

    Full Spectrum Neutral Density Filter

    The new ARRI Full Spectrum ND filter serves as the front line of image control. A natural succession to ARRI’s high quality products, this external FSND filter not only provides protection but has a palpable effect on image quality.

    Due to the increasing standards of modern deliverables, current industry image quality demands such as Ultra HD, High Dynamic Range, and Wide Color Gamut, and an increase in customer and end-user demand for external filters of the highest quality, ARRI was inspired to create their own FSND external filter. ARRI is already very familiar with premium filters; the ALEXA Mini and the AMIRA cameras come equipped with an internal FSND filter that is highly respected in the industry and purely color neutral. Now, the unsurpassed dynamic range of ARRI’s camera sensors do not have to be diminished or distorted by external filters of lesser quality.

    Main Features:

    • Renowned Full Spectrum ND Filters from ALEXA Mini and AMIRA now as front filters
    • Highest contrast and truest color transmittance for HDR capture
    • Multiple layers of coating for easy cleaning and prolonged filter life
    • Long-lasting CORDURA® pouches lined with MICRODEAR® anti-static cleaning cloth
    • Fast inventory tracking through unique, laser-engraved barcodes

    Additional Features:

    • Optical quality, Schott B270i glass with completely flat and parallel surfaces for image sharpness
    • Anti-reflective coating for contrast and top HDR deliverables
    • Hard coating for prolonged filter life
    • Hydrophobic and oleophobic coating for easy and fast cleaning
    • C-Shaped, black edge prevents chipping and reflection
    • Anti-static premium pouch for safe storage
    • Engraved, unique barcode for fast inventory tracking and proof of ownership
    • Purely color neutral for true image capture

    Articles: Digital Photography Review (dpreview.com)

  • Oprema Jena is also resurrecting the Biotar 58mm F2.0 lens, will cost $2,000

    In addition to bringing back the legendary Biotar 75mm F1.5 lens via its new Kickstarter campaign, company Oprema has also announced plans to resurrect the Biotar 58mm F2.0 lens originally made by Carl Zeiss. Though the company doesn’t anticipate launching the Biotar 58 lens until late 2018, the company is offering pre-production models of the 58 in bundles with the Biotar 75mm lens via the latter’s Kickstarter campaign.

    Originally reported by PhotoRumors, and later confirmed in an official announcement, the special pre-production Biotar 58 lenses will feature serial numbers ranging from 1 to 58. The two-lens bundle will require a pledge of $ 2,000 USD, which is a whopping $ 2,500 USD lower than the planned retail cost of the two lenses combined. Not bad for a Kickstarter discount.

    Assuming everything goes according to plan, Oprema plans to launch the Biotar 75 lens next summer at a retail cost of $ 2,500 USD, whereas the Biotar 58 will arrive a few months later at a lower $ 2,000 USD.

    The Biotar 58mm lens will be offered in Nikon, Canon, Leica M, Fuji X, Sony E, and M42 mounts, and represents Oprema’s second foray into the market of remaking classic lenses.

    To find out more or put down a pledge, head over to the Biotar Kickstarter campaign. There are still 49 Biotar bundles left as of this writing.

    Articles: Digital Photography Review (dpreview.com)

  • This eclipse photo shows the crazy dynamic range of today’s image sensors

    Nikon D750 without any filters at 1/8s, F11, and ISO 100. Photo by Dan Plucinski

    We talk about dynamic range (or lack thereof) a lot here at DPReview. But with all of the granular comparisons between the newest models, it’s easy to forget how incredible many of today’s image sensors have gotten in this regard. So here’s a quick example from photographer Dan Plucinski, who captured this photo in Oregon during the total solar eclipse on Monday.

    The photograph on the right is a single image, not a composite. Plucinski simply took the shot on the left and pulled the shadows up in post; what you see on the right is the same image, with all of the shadow detail recovered.

    The lesson is pretty straight-forward: always shoot Raw.

    Photo by Dan Plucinski and used with permission.

    Articles: Digital Photography Review (dpreview.com)

  • Equivalence is useful if you have any interest in light (and as a photographer, you probably should)

    Photography is all about light, something you’ll quickly discover even if you’re not familiar with the word’s Greek origins. Most of the time, we use a standard framework (the standard exposure model) to discuss how much light your camera is receiving. However, this isn’t the only way of looking at things.

    ‘Equivalence’ gives us another way of looking at light, that just happens to give a clearer understanding of the capabilities of different formats. It’s a common misconception that equivalence and the more familiar standard exposure model are at odds with each other, but the two systems aren’t contradictory – they just tell different parts of the same story.

    The Standard Exposure Model

    The standard exposure model uses shutter speed and F-number (the ratio of a lens’s focal length, relative to its exit pupil) to describe how much light your camera is receiving. Using this ratio normalizes the behavior of lenses based on how much light they project per unit area, meaning it works consistently across different focal lengths. The available light and the exposure you can devote to it tend to dictate most of the noise in your image, so are the most effective way of reducing it.

    A third factor (which is applied after the light has been captured, so doesn’t affect exposure, per se) is sensitivity (ISO) which, at its most basic can be thought of as essentially ‘whatever amplification or brightening is needed to provide the expected image brightness from a given exposure.’ This has the effect of ensuring that the exposure system works, regardless of what format you’re shooting on.

    Lightmeters are designed to express the light level in terms of the standard exposure model. Since this system is, by design, independent of format so are their results.

    There are many benefits to this system. It means that you never have to think about what format you’re shooting with: everything from your smartphone to a medium-format back will work using the same settings in the same lighting conditions. This is the reason light meters are able to work without giving a fig for what camera you’ve got.

    The main downside to this*, is that it obscures the effects of format. There’s nothing wrong with thinking in terms of exposure, but it leads to slightly wooly conclusions such as ‘full-frame sensors can give less depth of field and are better in low light’ which is generally correct but not very precise. In turn, this can lead to confusion about why this is the case. ‘Something to do with bigger pixels?**’

    Equivalence: the whole image perspective

    Equivalence is simply a different way of looking at the same thing. Instead of thinking about light per unit area, it looks at the total amount of light that goes to make up the whole image. As a result, it assumes you’re trying to take a specific picture (matched framing, shot from the same position) and also requires you to compare images at the same size. In other words, it’s about pictures, not pixel peeping.

    It’s not a matter of faith, nor does it contradict anything that the exposure model says, it’s simply a question of geometry. In the film era, where most people used a single format and only a generally knowledgeable minority used medium and large formats, the same underlying effects were usually discussed in terms of enlargement. But, since there’s no fundamental link between the size of your pixels and the size you choose to view or print them, ‘enlargement’ becomes a slightly arcane way of thinking about it.

    Equivalence is simply a way of looking at how much light a system gets, and just happens to use the 135 film format as the baseline for those comparisons (because it was the dominant system in the film era, which saw it being used as the basis of comparison for focal lengths, when the many and various sensor formats emerged at the beginning of the digital era).

    Equivalence, the basics

    Equivalent f-numbers are a means of considering the combined effect of the aperture and sensor size.

    In the same way that equivalent focal lengths describe the effect of sensor size on the field-of-view a lens gives, equivalent apertures describe the effect of sensor size on the properties that aperture affects (depth of field, diffraction, total light projected). In both instances, the underlying properties are not changed: neither the focal length or F-number of a lens is changed by different sensor sizes, only their effects.

    • F-number = focal length/aperture diameter
    • Equivalent f-number = equivalent focal length/aperture diameter

    Comparing equivalent apertures allows you to understand how much control a lens will give you over depth-of-field. It also gives a good idea of how low-light performance will compare between two cameras of different sensor sizes, since it tells you how much total light is making up the final image (most noise is most images comes from the amount of light captured).

    However, because the exposure and ISO system is, by design, independent of sensor size, equivalent apertures should only be used to understand camera/lens capability, not exposure.

    To keep things real-world relevant, equivalence assumes you’re shooting the same framing from the same position and then viewing the images at the same output size.

    Looking at total light or light per image, means we can better recognize the effect of light on depth-of-field, diffraction and noise. Rather than vaguely saying that ‘full-frame is, er, better than APS-C’ we can understand why and how much more or less light a larger or smaller sensor will receive at the same exposure settings (same shutter speed and same F-number), by calculating what the equivalent F-numbers are.

    So, since a 50mm F2 lens used on APS-C behaves equivalently to a 75mm F3 lens on full-frame, we can see that a full-frame camera with a 75mm F2 could receive up to one and a sixth stops more light, if you opened the lens up to its maximum aperture. You can see this would give a shallower depth of field and a little over one stop of noise improvement, assuming comparable sensor performance.

    Looking at it this way not only shows us the boundaries of the capabilities of each system but also gives us a meaningful way to assess whether either system is under or over-performing, relative to other systems, since it gives us a set of expectations about what it should be capable of.

    This really shouldn’t be controversial

    You do not need to consider equivalence for a moment when choosing an exposure. You do not have to multiply the F-number by the crop factor, unless you want to understand its behavior, relative to another system. However, it is completely legitimate to do so. The logic behind it is mathematically sound***, it holds up to real-world testing and it can be informative, if you’re interested. It’s an effective tool, whether you have need for it or not.

    For more information, with real-world examples, read our more in-depth article on the subject.

    * …beyond the flexibility in the ISO standard that means cameras don’t actually have to produce the image brightness you expect, and the fact that ISO as used by camera makers has very little meaning in terms of Raw shooting. [Back to text]

    ** If you view two images at the same size, the ones taken with the larger sensor at the same field of view, F-number and shutter speed will usually be cleaner in close proportion to the sensor size increase, almost regardless of the pixel size. Whether you have the same number of larger pixels or a larger number of the same sized pixels generally makes very little difference. [Back to text]

    *** As Andy Rowlands’ Physics of Digital Photography points out, equivalence works at most normal photographic distances but, because it’s based on a slightly simplified depth of field equation, doesn’t hold true as you approach the close focus distances used for macro photography. This is equally true for focal length equivalence. [Back to text]

    Articles: Digital Photography Review (dpreview.com)