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Archive for August, 2018

Mirrorless Cameras are Going to Change Photography Forever

24 Aug

According to Jared Polin from Fro Knows Photo, the photography world is about to “explode.” With mirrorless technology making its way to the forefront of the industry, albeit slowly, it seems that things are about to get very interesting. Is it time to drop your DSLR camera for a new mirrorless body?

In the next two months, Nikon and Canon are both about to release “at least one mirrorless camera.” In Polin’s opinion, the two DSLR giants are looking to compete specifically with the Sony A7R III. That means we can expect cameras around the $ 2,000 price region, piled up to the brim with exciting new features.

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Nikon and Canon have been around for a long time, and experience is on their side when it comes to producing cameras. As Polin points out, they have “millions and millions” of lenses out in the wild already, meaning there are a huge number of options to pair with a new mirrorless camera from either of these two manufacturers.

Polin believes that the upcoming Nikon mirrorless camera is going to need an impressive autofocus system to work well with video, alongside 4K video resolution and faster frame-rates for stills.

“The whole world is going to change,” says Polin. “You’re going to see high megapixel versions, and maybe a sports version from both.”

Check out the full video above to see all of Polin’s thoughts on this exciting change coming to the photography industry. What do you think? Let us know in the comments below.

Have you gone mirrorless already? Read: DSLR or Mirrorless Cameras Which is Right for You?

The post Mirrorless Cameras are Going to Change Photography Forever appeared first on Digital Photography School.


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Nikon Z 7 sample videos

24 Aug

Nikon’s new Z 7 mirrorless camera promises to be useful for video work as well as still photography, and includes features such as 4:2:2 10-bit video over HDMI, usable autofocus in video, and improved video processing.

We’ve put together a series of video clips from the Nikon launch event in New York to show what video looks like straight out of the camera, including clips recorded in 10-bit 4:2:2 color using an Atomos Ninja, as well as some 1080/120p footage for slow motion. All shots marked as captured with the Atomos Ninja were mounted on a DJI Ronin M gimbal.

What do you think of the video quality so far? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z 7 First Impressions Review

24 Aug

Nikon Z 7 First Impressions Review

The Nikon Z 7 is the company’s first full-frame mirrorless camera: a 46MP, 4K-capable machine built around a variant of the D850’s BSI CMOS chip, but with the addition of on-sensor phase detection. It’s designed to offer an experience familiar to existing Nikon DSLR shooters in a smaller, lighter camera. The Z 7 is based around the all-new Nikon Z-mount but an adapter is available for use with existing Nikkor F-mount lenses.

We were lucky enough to get our hands on a pre-production camera before launch and we’re impressed, despite the model we used running very early firmware. The build quality is great and the interface is responsive, while JPEG images show pleasing color and good detail. From our initial impressions of image quality it also seems that the camera balances noise and detail retention well as light levels drop.

We have a few reservations regarding the autofocus interface on our pre-production camera (though its accuracy was quite good), but overall, the Z 7 we used felt very polished. This is all the more impressive given that the Z 7 is Nikon’s first entrant in the full-frame mirrorless space and the company is clearly aiming it at the higher-end of the market.

Key features:

  • 45.7MP BSI-CMOS sensor with on-sensor phase detection
  • In-body 5-axis stabilization (rated to 5EV)
  • 493 PDAF points with 90% horizontal and vertical coverage
  • ISO 64-25,600 (expandable to 102,400)
  • Up to 9 fps shooting (JPEG and 12-bit Raw)
  • 3.69M-dot OLED viewfinder
  • 2.1M-dot tilting touch LCD
  • OLED top plate display
  • Single XQD card slot
  • UHD 4K capture up to 30p
  • 10-bit 4:2:2 N-Log output over HDMI
  • Up to 100Mbps H.264 8-bit internal video capture
  • SnapBridge Wi-Fi system with Bluetooth, including to-PC transfer
Pre-production sample JPEG.
ISO 64 | 1/500 sec | F7.1 | Shot using the the Nikon Z 24-70mm F4 S lens at 51mm
Photo by Wenmei Hill

We see the Z 7 as not only a ‘D850 without a mirror’, but also (perhaps more) ‘a D850 with a more consistent stills/video experience and greatly improved video AF.’ And straight out of the gate, that makes it a pretty well-rounded do-everything camera.

Three ‘Z-mount’ lenses will be available initially: a 35mm F1.8, a 50mm F1.8 and a 24-70mm F4. Nikon has also announced it is developing a 58mm F0.95 ‘Noct’ lens and has published a roadmap to show how it plans to expand the system. A battery grip will also be available at some point, but a release date hasn’t yet been set.

Three Nikkor S (for ‘silver’) lenses will be available for the Z-mount initially: a 50mm F1.8, a 24-70mm F4 and a 35mm F1.8

Nikon has also released an F-to-Z mount adapter (formally known as the FTZ adapter) that will allow the use of F-mount lenses on the new cameras. This has a mechanical aperture lever built in, allowing full use of AF-S and AF-I lenses. Older AF-D lenses will offer auto exposure and AI lenses will have full metering. There’s no aperture tab for use with ‘AI’ or older lenses, though.

What’s new and how it compares

The Z 7 isn’t just a D850 without a mirror: we look at the key additions and what the Z 7 offers…

Read more

Body and handling

How the Z 7 feels in the hand may be crucial to its acceptance. We have a look at the camera and the control points it offers.

Read more

Operation and controls

The Z 7’s user interface will be very familiar to existing Nikon shooters. Up to a point, that is.

Read more

Z 7 Autofocus behavior

The Z 7 offers impressive autofocus performance, but there’s some adjustments to be made.

Read more

Video

Nikon has done a lot to enhance the Z 7’s video, even if that’s not immediately obvious from the specs.

Read more

Thoughts so far

What does the Z 7 say about Nikon’s direction, who its trying to appeal to and what does it mean for F-mount users?

Read more

Sample gallery

We’ve had time with a pre-production Nikon Z 7 in the field, and have preliminary JPEG images that look quite impressive.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Using the Nikon Z 7 vs. Nikon’s DSLRs

24 Aug

Nikon tells us it put a lot of thought into creating a consistent user experience between its new mirrorless cameras and its DSLRs, as well as how to maintain compatibility with existing lenses. In this short video, we take a look at a few examples of where Nikon has done exactly this – and at least one place where the experience is quite different.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with Nikon’s three Z-series lenses

24 Aug

Hands-on with Nikon’s new Z-mount lenses and FTZ adapter

Nikon’s new Z-mount marks a major departure for the company, which (barring the short-lived 1-Series) for almost 60 years has relied on the 1950s-era F-mount for its interchangeable lens cameras. The Z-mount is significantly wider than the older F standard, with a much shorter flange-back distance. As such, it provides Nikon’s optical engineers with greatly increased flexibility when it comes to lens design.

The new Z 7 and Z 6 are launching with three new lenses – the Nikkor Z 24-70 F4 S, Nikkor Z 50mm F1.8 S, and Nikkor Z 35mm F1.8 S, alongside an FTZ adapter for Nikon’s legacy F-mount lenses and a fourth native prime – the Nikkor 58mm F0.95 Noct – in development. Let’s take a closer look.

The Z-mount

The Z-mount is the widest 35mm standard lens mount in existence, at 55mm. Nikon claims that this enables lenses with maximum apertures as wide as 0.95 without significant vignetting, which means twice as much light as the F mount can allow. Because the Z-mount is designed from the ground up for mirrorless cameras, the interface is entirely electronic, and the flange-back distance is only 16mm: 2mm shorter than Sony’e E Mount.

This – plus the wide diameter of the lens throat – should make the Z-mount the most versatile lens mount on the market when it comes to adapting lenses from other systems – as well as potentially opening the door to high-quality, super-compact Z-mount wide-angle lenses in the future.

The wide throat should give Nikon’s designers and engineers plenty of flexibility, since it essentially moves the outer edges of the mount out of the sensor’s field-of-view. This should not only remove constraints on lens design but also allow plenty of room for sensor movement for image stabilization, for instance.

The 55mm diameter is, noticeably, the exact diameter of a 44 x 33mm medium format sensor, but that tight fit would end up re-imposing exactly the design constraints the Z-mount avoids.

FTZ adapter

There are a huge number of F-mount lenses in circulation, many in the hands of enthusiasts and professional photographers. As such, Nikon was very keen to maintain F-mount compatibility with the new Z 7 and Z 6. Enter the FTZ adapter: a weather-sealed and unusually smart mount converter, which offers full support for more than 90 of Nikon’s current F-mount lenses and partial support for more than 360. F-mount lenses with VR will benefit from the addition of roll correction, courtesy of the Z 7 and Z 6’s in-body stabilization system. Non-VR adapted lenses will receive 3-axis stabilization.

While the Z-mount is fully electronic, the FTZ includes a mechanical aperture actuator for older F-mount lenses that lack the current-generation all-electronic aperture interface. We haven’t had the chance to fully test performance yet, but our initial impressions of AF performance with adapted F-mount lenses are very positive. The FTZ adapter will ship in late September for $ 249 (you save $ 100 if you buy it with the Z 7 or Z 6).

Focus-by-wire design

Hybrid AF systems tend to work best with lenses that use single, light focusing elements, since it reduces inertia to allow a highly-precise contrast detection check. This, along with the need to focus silently for video work, encourages the use of different focus motors than the ones used for DSLR lenses.

A knock-on effect of this is that the Nikkor Z lenses don’t use the ring-type focus motors that Nikon has used for its high-end DSLR lenses. In turn this means designs with no physical connection between the focus ring and the focusing elements: an approach known as focus-by-wire.

Nikon uses this lack of mechanical connection by offering a speed-sensitive response: moving the focus a lot if you turn the ring quickly or in more subtle increments if you move it slowly. It’ll be unfamiliar if you’re used to DSLR lenses but it can allow fast and precise focus once you’re used to it. Nikon also let you use the focus ring for other functions, if you prefer.

However, this isn’t the only way focus-by-wire lenses can work, and there’s nothing to stop Nikon adding a linear response mode that would be more like the way its existing lenses operate. This is particularly useful for videographers, since it makes it possible to plan-out a focus pull, knowing that a 30 degree turn of the focus ring will give drive the focus to the distance you expect.

It would also be possible for Nikon to let you reverse the lens rings’ direction of operation, so that it focused like other brands’ lenses. At present, Nikon isn’t offering either of these options, but we’re hoping they’ll add them at some point in the future.

Nikkor Z 24-70 F4 S

The standard ‘kit’ lens for the Z 7 and Z 6 at launch, the Nikkor Z 24-70 F4 S is a lightweight constant-aperture zoom which features a buttonless retractable design, to save on overall size when the lens isn’t being used. Optical construction consists of 14 elements in 11 groups, including one aspherical ED (extra low dispersion) element and three regular aspheres. Nikon’s Nano Crystal coat is employed to reduce flare and ghosting, and a flourine coating on the exposed elements should make it easier to clean moisture and fingerprints from the glass.

Autofocus is driven by a stepping motor, and (in common with all of the new z-mount lenses) manual focus-by-wire is also available. The slim focus ring (Nikon calls it a ‘control ring’) can also be customized to allow control over aperture and exposure compensation.

Our initial optical impressions are that it is surprisingly sharp across the frame even wide open, but its bokeh suffers from onion rings and other patterns – which can lead to ‘busy bokeh – presumably due to the use of aspherical elements. This is not uncommon in new lens designs optimized for sharpness, and the amount to which it might be distracting is likely to vary from copy to copy of any particular lens.

Like all of the new Z-mount optics, the Nikkor Z 24-70 F4 S is a pretty lightweight lens at 500g, but feels well made. It features a minimum focus distance of 30cm (11.8 inches) and has 72mm filter threads. The 24-70mm F4 will ship alongside the Z 7 in September for $ 999.

Nikkor Z 50mm F1.8 S

Nikon is pretty proud of this one, and based on our early impressions, the company seems to have good reason. The Nikkor Z 50mm F1.8 S is an extremely sharp standard prime lens for the Z-mount, which Nikon claims has “nearly zero aberrations” when shot wide open at F1.8.

The 50mm F1.8 incorporates a nine-blade aperture, and optical construction consists of 12 elements in 9 groups, including two ED elements and two aspherical elements. Like the 24-70mm, the 50mm employs Nano Crystal coating to reduce flare and ghosting. Minimum focus is 40cm (15.7 inches). Autofocus performance seems broadly comparable to Nikon’s 50mm F1.4 AF-S. It’s positive (and almost completely silent), but not as snappy as some of Nikon’s ring motor-equipped fast-aperture lenses.

A subtle but very welcome addition to the lens hoods of the new Z-mount range (masked off in our shots of these early pre-production units) is a text panel which lists the lens with which the hood is compatible, and its filter thread.

The Nikkor Z 50mm F1.8 S will ship in late October for $ 599.

Nikkor Z 35mm F1.8 S

The Nikkor Z 35mm F1.8 S is a medium-wide prime lens, which looks extremely similar to the slightly larger 50mm F1.8. Comprised of 11 elements in nine groups, optical construction (again) includes Nano Crystal coating and like the 50mm F1.8, the 35mm features a nine-bladed aperture. It also shares the same 62mm filter thread. At 370g, the 35mm F1.8 is the lightest of the Z-mount lenses available at launch. Minimum focus is 25cm (9.8 inches).

Our initial optical impressions are positive: the lens is very sharp. However, there’s a significant amount of longitudinal chromatic aberration (pink and green fringing in front of and behind the focus plane, respectively), something Nikon prime shooters are undoubtedly already familiar with. Bokeh is generally pleasing, but there’s some patterning to out-of-focus highlights that aren’t very defocused, likely due to the use of aspherical elements. Autofocus is quiet, but sometimes felt slower than its AF-S counterpart, though this could be due to the beta firmware of the lens and camera.

The Nikkor Z 35mm F1.8 S will ship alongside the Z 7 in late September for $ 599.

Nikkor 58mm F0.95 Noct

We haven’t handled this one yet, but we can’t wait. Unveiled as a development announcement, Nikon claims that the forthcoming Nikkor 58mm F0.95 Noct will offer the “highest rendering performance” of all the first-generation Z-mount lenses, including “flawless” transitions between in and out of focus areas. A brand-new ‘ARNEO’ (‘AR’ for Anti-Reflective and Neo denoting ‘new’) coating will be employed to reduce flare and ghosting. An LCD panel will display aperture, depth-of-field and focal length information.

Lens roadmap

As well as the three lenses available at the point of launch and the announcement of the 58mm Noct, Nikon has also published a lens roadmap. This isn’t something Nikon has done before. Instead it’s a move taken from the Micro Four Thirds and Fujifilm X-mount playbooks: making clear to would-be buyers that the company will continue to expand the system and introduce the lenses you might one day need.

This makes sense because, for all its hundred-year heritage and more than 100 million F-mount lenses sold, this is a new system and would-be buyers will need all the reassurance they can get that it’s a system with a solid future.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z-mount launches with 24-70mm F4, 50mm F1.8 and 35mm F1.8 lenses

24 Aug

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You can’t launch a new camera system without lenses, and Nikon has three Nikkor Z-mount lenses available at and slightly after the launch of the Z 7 and Z 6. They include a 24-70mm F4 S, 50mm F1.8 S and 35mm F1.8 S (the ‘S’ represents the subtle silver ring around the lens, according to Nikon). The company is also developing a 58mm F0.95 Noct lens and has released a three-year roadmap of what’s next.

The 24-70mm F4 S features a buttonless collapsible design, 14 elements (which include ED aspherical, ED and aspherical) and both Nano Crystal and fluorine coatings. As with all of the new lenses, the 24-70 has electromagnetic aperture control, uses a stepping motor for autofocus and countermeasures to reduce focus breathing. A customizable control ring can be used to adjust focus, aperture and exposure compensation. The minimum focusing distance of the lens is 30cm (11.8″). The 24-70 will serve as a kit lens for both the Z 7 and Z6.

The Nikkor Z 50mm F1.8 S is one of two standard primes in the initial lineup. Of its 12 elements, two are ED and two are aspherical, and there’s a Nano Crystal Coat, as well. The lens has a nine-blade aperture, internal focusing and a minimum working distance of 40cm (15.7″).

The third of the initial group of lenses is the Nikkor Z 35mm F1.8 S, which has 2 ED and 3 aspherical elements as well as a Nano Crystal Coat. This lens has a rear focusing system and a minimum distance of 25cm (9.8″).

Press Release

NIKON RELEASES THE NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, NIKKOR Z 50mm f/1.8 S, AND THE MOUNT ADAPTER FTZ, AND DEVELOPS THE NIKKOR Z 58mm f/0.95 S NOCT

Designed Exclusively for the Nikon Z Mount System, Featuring a New, Larger-Diameter Mount

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of three new lenses designed for the next-generation Nikon Z mount system’s full-frame (Nikon FX format) mirrorless cameras, for which a new larger-diameter mount has been adopted. The three new lenses are the standard zoom NIKKOR Z 24-70mm f/4 S, the wide-angle prime NIKKOR Z 35mm f/1.8 S, and the standard prime NIKKOR Z 50mm f/1.8 S. Nikon has also announced the Mount Adapter FTZ for Z System compatibility with existing NIKKOR F mount lenses and development of the NIKKOR Z 58mm f/0.95 S Noct lens1.

NIKKOR Z lenses pursue a new dimension in optical performance, by taking advantage of the superior design flexibility made possible by the combination of the larger Z mount with its inner diameter of 55mm, and a short flange focal distance of 16mm. The lenses offer sharp resolution with both still-image and video recording, and are equipped with functions that include: compensation for focus breathing (the shifting of the angle of view when focus is adjusted), quiet operation, smooth exposure control, a control ring and performance that is well suited for video capture.

The NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, and NIKKOR Z 50mm f/1.8 S are S-Line interchangeable lenses. The S-Line is a newly designated grade of NIKKOR Z lenses that adhere to a new benchmark in optical performance, realizing rendering performance that surpasses that of conventional f/4 standard zoom lenses and f/1.8 wide-angle or standard prime lenses. From maximum aperture, clear and sharp resolution can be achieved as well as beautiful bokeh characteristics.

Additionally, the Mount Adapter FTZ has been designed to allow users of Nikon SLR cameras to utilize their existing NIKKOR F mount lenses with the Z mount system and enjoy taking advantage of an even wider variety of lens characteristics with their photography.

Development of the NIKKOR Z 58mm f/0.95 S Noct

Nikon is currently developing the NIKKOR Z 58mm f/0.95 S Noct, a standard prime manual focus lens and the fastest lens in Nikon’s history. The design of the Noct lens exemplifies Nikon’s mission to pursue the ultimate optical performance in the mirrorless category. As the result, the Noct is positioned at the top of the S-Line. In addition, Nikon is planning on releasing a variety of new lenses that will continue to expand its line of attractive, high-performance NIKKOR Z lenses that further extend photographers’ creative expressions.

NIKKOR Z 24-70mm f/4 S Primary Features

  • Standard focal-length range from wide-angle 24mm to medium-telephoto 70mm can effectively cover a wide variety of scenes and subjects with rendering performance that will change the perception of what is possible with zoom lenses with a maximum aperture of f/4
  • Optical design that suppresses variations in aberrations from shooting distances of close-up to infinity, demonstrating sharp resolution even in the peripheral areas of the frame from the maximum aperture, as well as fine point-image reproduction
  • Achieved a minimum focus distance of just 0.3 m across the zoom range
  • Adoption of an ED glass element, an aspherical ED lens element, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Has the size needed to deliver an extremely high standard of optical performance, yet provides outstanding portability; employs a retracting mechanism that can be set on/off without pressing a button and reduces total length for a compact lens that can easily be taken anywhere
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed
  • Fluorine coat applied to front lens surface

NIKKOR Z 35mm f/1.8 S Primary Features

  • Rendering performance that redefines perceptions of what a 35 mm f/1.8 lens can do
  • Sharp resolution even in the peripheral areas of the frame from the maximum aperture, effective suppression of sagittal coma flare that enables superb point-image reproduction when capturing point light sources in night landscapes, and the soft and natural bokeh characteristics expected of a fast (bright) lens
  • Adoption of a new multi-focusing system featuring two AF drive units providing driving power at high speed and with high accuracy that achieves quiet, fast, and accurate AF control, as well as high image-forming performance at any focus distance
  • Adoption of two ED glass elements, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

NIKKOR Z 50 mm f/1.8 S Primary Features

  • Superior rendering ignites creativity, and redefines perceptions of what a 50mm f/1.8 lens can do
  • Thorough suppression of axial chromatic aberration ensures superior resolution with faithful reproduction of the fine textures in subjects, even from maximum aperture
  • Sharp and clear rendering of details from the center of the frame to the peripheral edges, regardless of the shooting distance
  • The soft and beautiful bokeh characteristics at any shooting distance possible only with a fast (bright) lens
  • Adoption of two ED glass, and two aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Adoption of a new, powerful stepping motor (STM) enables quiet and accurate AF control during both still-image capture and video recording
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

Mount Adapter FTZ Primary Features

  • Full compatibility with more than 90 lenses and functionality with approximately 360 existing NIKKOR F lenses from AI type onwards2
  • The unique characteristics of NIKKOR F mount lenses can be applied to Z mount system image quality
  • In-camera VR (Vibration Reduction) with three-axis VR is available when attaching a NIKKOR F lens without built-in VR; in-camera VR also performs well with stills and video recording
  • When attaching a NIKKOR F lens with built-in VR, lens VR and in-camera VR effectively work together to compensate for camera shake by enabling three-axis VR.
  • Various sections of the adapter are effectively sealed to ensure dust- and drip-resistant performance equivalent to that of NIKKOR F lenses
  • Designed to be lightweight yet tough with consideration for superior operability as a part of a complete system

Development of the New NIKKOR Z 58mm f/0.95 S Noct Lens that Pursues Ultimate Optical Performance

The NIKKOR Z 58mm f/0.95 S Noct that Nikon is currently developing will be a large aperture, standard 58mm prime focal-length, the fastest lens in Nikon’s history3, manual-focus lens positioned at the very top of the S-Line. It will stand to symbolize the Nikon Z mount system’s new dimension in optical performance.

It has inherited the design concept behind the original AI Noct-NIKKOR 58mm f/1.2, a standard prime lens released in 1977, named for “Nocturne” (a musical composition inspired by or evocative of the night), and was popular for its ability to finely reproduce point light sources as point images. This new Noct lens that is currently in development will take advantage of the advanced design flexibility afforded by the Z mount, pursuing ultimate optical performance. Development continues with the goals of achieving an extremely fast maximum aperture of f/0.95, offering the ultimate in NIKKOR rendering performance with superior detail and sharpness. Additionally, the goal is to achieve beautiful blur characteristics, or bokeh, with good continuity, and ensure outstanding point-image reproduction capabilities for more compelling, three-dimensional imaging.

The NIKKOR Z Lens Roadmap

Information in the roadmap, including release dates, are subject to change. Product names after the NIKKOR Z 58mm f/0.95 S Noct are not yet finalized.

Price and Availability

The NIKKOR Z 24-70mm f/4 S and NIKKOR Z 35mm f/1.8 S will be available September 27 for the suggested retail prices (SRP) of $ 999.95* and $ 849.95*, respectively. The NIKKOR Z 50mm f/1.8 S lens will be available in late October for the SRP of $ 599.95*. The Mount Adapter FTZ will be available September 27 for $ 249.95* SRP (Additional $ 100 savings when purchased together with a Z 7 or Z 6, through 12/31/2018). For more information on these and other Nikon products, please visit www.nikonusa.com.

Nikkor Z 24-70mm F4 S specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 24–70 mm
Image stabilization No
Lens mount Nikon Z
Aperture
Maximum aperture F4
Minimum aperture F22
Aperture ring Yes
Number of diaphragm blades 7
Optics
Elements 14
Groups 11
Special elements / coatings 1 aspherical ED + 1 ED + 3 aspherical elements, Nano Crystal and fluorine coatings
Focus
Minimum focus 0.30 m (11.81″)
Maximum magnification 0.3×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter No
Physical
Weight 500 g (1.10 lb)
Diameter 78 mm (3.07″)
Length 89 mm (3.5″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 72 mm
Hood supplied Yes
Tripod collar No

Nikkor Z 35mm F1.8 S / 50mm F1.8 S specifications

  Nikon Nikkor Z 35mm F1.8 S Nikon Nikkor Z 50mm F1.8 S
Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 35 mm 50 mm
Image stabilization No
Lens mount Nikon Z
Aperture
Maximum aperture F1.8
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 11 12
Groups 9
Special elements / coatings 2 ED + 3 aspherical elements, Nano Crystal Coat 2 aspherical + 2 ED elements, Nano Crystal Coat
Focus
Minimum focus 0.25 m (9.84″) 0.40 m (15.75″)
Maximum magnification 0.19× 0.15×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Rear Internal
Distance scale No
DoF scale No
Focus distance limiter No
Physical
Weight 370 g (0.82 lb) 415 g (0.91 lb)
Diameter 73 mm (2.87″) 76 mm (2.99″)
Length 86 mm (3.39″) 87 mm (3.43″)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 62 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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A closer look at Nikon’s new Z 6 and future Z-mount lenses

24 Aug

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

The higher resolution Z 7 might be getting most of the attention, but Nikon’s new Z 6 also has a lot going for it. We’re at the launch of the Z system in Tokyo, where we took a closer look at the Z 6 and three forthcoming ‘S-line’ lenses.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

Cosmetically the Z 6 is virtually identical to the higher-resolution Z 7, and even internally, they have an awful lot in common (I’d recommend you start here, if you want to get a feel for the general feature set of both cameras) None of the key differences between the Z 6 and Z 7 are noticeable until you really start digging through their respective menu systems.

As such, like the Z 7 the Z 6 is a comfortable, nicely-sized mirrorless ILC with a good, deep grip and in terms of its general design and operation it has a lot in common with the established D800-series DSLRs – at least until it comes to the autofocus modes. Here, the Z 6 is shown with its ‘kit’ zoom, the collapsible 24-70mm F4, attached.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

The unusually subtle name plate on the lower right of the Z 6’s front is the only indication that this is the lower-priced model in Nikon’s brand new Z lineup.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

You’d need an electron microscope to really tell the difference, but this is what 24MP looks like, compared to the 47-ish MP of the more expensive Z7. If the Z7 is sort of a mirrorless D850, the Z 6 is sort of a mirrorless D750. Sort of, because there’s a lot more going on inside the Z 6 than the bare resolution drop compared to the Z 7 might suggest.

If you want to compare it to any camera, actually, the Sony a7 III is probably a more sensible point of comparison.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

But let’s not get ahead of ourselves. Compared to the Z 7, the Z 6 is faster, for one thing – and by a decent margin. Whereas the Z 7 tops out at 9fps (AE locked, no live view) the Z 6 – which shares the same Expeed 6 processor, but has less data to move around – can manage up to 12fps.

Sadly there’s no such thing as a free lunch in this life (that’s an expression I just came up with) and Nikon hasn’t bestowed the same 493-point PDAF system on the Z 6 that you’ll find in the more expensive Z 7. Instead, the Z 6 offers 273 PDAF points, covering the same 90% vertical and horizontal frame coverage.

The Z 6’s autofocus should be slightly more sensitive in low light than the Z 7, and we suspect that the Z 6 might ultimately have a slight edge over the Z 7 when it comes to outright AF speed, but that’s something we’ll have to wait for reviewable cameras to really test. In a quick, thoroughly unscientific test against the Z 7 at Nikon’s touch and try session in Tokyo, I couldn’t detect a noticeable difference in AF responsiveness between the two cameras with the 24-70mm F4 attached.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

This is a Z 7, not a Z 6 (although you’d be forgiven for not noticing) pictured in what Nikon hopes will become its natural environment – a professional video rig. Since both of the new Z-series cameras are hybrid designs, they’re equally comfortable (in more than one sense of the term) shooting video as they are stills.

Both cameras offer 4K and HD video, but the Z 6 could turn out to be the more compelling of the two new models for serious videography. That’s because (like the Sony a7 III) it offers 4K footage based on full pixel readout with no crop, whereas the higher-resolution Z7 can only do this in its cropped Super 35 / DX format mode. In theory, this should result in cleaner, more detailed video. So if you’re primarily interested in shooting video (or you’re a ‘bit of both’ shooter that can live with 24MP stills) the Z 6 might be the better purchase, when it becomes available in the next few weeks.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

It always warms my heart to see things cut in half, and at the Tokyo launch event Nikon did not disappoint. Here’s a Z 6/7 with a 24-70mm F4, sitting above a D850 with a 24-70mm F2.8 VR. Nikon is cheating a bit by putting an F2.8 zoom alongside an F4, but hopefully you get the point – both Z-series cameras are significantly smaller (and about 26% lighter) than the D850.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

Here’s a closer look at one of the most impressive features of both the Z 6 and Z 7, their 3.69-dot EVF, which as you can see, is accompanied by an optical assembly that makes the D850’s finder assembly look pretty simple by comparison. Nikon could easily have skimped on the Z 6’s finder compared to the more expensive Z 7, but we’re pleased to see that this didn’t happen.

The viewfinder experience from both cameras really is lovely. After a couple of days shooting with a Z 7, I actually had trouble going back to the (excellent) optical finder of the D850, which feels cool and even a little unsharp by comparison.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

Nikon has promised a dedicated grip for the Z 6/7, which was on show (in the form of this rough 3D printed mockup) in Tokyo. Details are still TBD, but we assume that Nikon will at least add a rubberized coating before it becomes officially available to buy.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

Also not quite ready for primetime are three forthcoming S-series lenses (from left to right) the 24-70mm F2.8, 58mm F0.95 ‘Noct’ and 14-30mm F4. (Sorry about the limited depth of field in this shot, I was trying to isolate the Noct, and then forgot to get a proper group shot before moving on. It’s been a long day.)

As you can hopefully tell, though, the Noct is massive and the 24-70mm F2.8 – while not quite as enormous – looks like it will also be a pretty beefy lens when it’s released next year, dwarfing the compact 24-70mm F4 kit lens. The 14-30mm (shown mounted on a Z 7) on the other hand is fairly compact, which we know is one of the technical advantages of a very short flange-back distance.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

A closeup of the rather natty ‘Noct’ script and display screen on the forthcoming 58mm F0.95, which we’re told can be customized to show information such as depth of field, shooting aperture and focus distance.

The Noct is a manual focus lens, and this shot shows off its very broad, textured focus ring. We couldn’t pick this mockup up (or indeed any of them) to judge build quality or ergonomics, but we can’t wait to get our hands on a working sample.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

Moving to the rear of the lens reveals a chunky tripod collar, to support the presumably substantial weight of the F/0.95 lens.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

Here’s a closer look at the control layout of the 24-70mm F2.8, showing its display screen, Disp button (which we assume toggles between display modes) and a customizable L-Fn button. A full list of functions that can be assigned to the button is listed in our First Impressions Review of the Z 7.

A closer look at Nikon’s new Z 6 and roadmap ‘S’ lenses

Compared to the 24-70mm F2.8 and 58mm F0.95, the 14-30mm F4 looks positively tiny. Cosmetically, it shares a lot of the same design accents of the 35mm, 50mm and 24-70mm lenses announced alongside the Z 6. Details of all three forthcoming lenses are in short supply, but we’ll share more when we have more to share.

Articles: Digital Photography Review (dpreview.com)

 
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Google Pixel 3 leaks, comes with single camera and updated camera app

24 Aug

We are very much used to information about new products being leaked before the launch date, and especially so in the case of smartphones and other tech. However, the case of the upcoming Google Pixel 3 device is somewhat special.

It looks like several pre-production units were stolen from Google and are being sold on the black market. One device made its way to Russian tech site Mobile Review, which produced a fully-fledged hands-on review – of a device that hasn’t even been launched yet.

Google Pixel 3 camera options, image: Mobile Review

Thanks to leak and article we now know the Pixel 3 will come with a 12.2MP single-camera – at a time when most direct rivals feature dual-camera setups and, in the case of the Huawei P20 Pro, even a triple camera. There is also an 8MP dual front-camera.

Camera performance on previous Pixel model was excellent, thanks to Google’s outstanding software processing, and we should again expect class-leading detail and dynamic range from the new Google device. However, without a secondary tele-lens the Pixel is likely going to struggle against some competitors in the zoom department.

Google Pixel 3 camera user interface, image: Mobile Review

The camera user interface shown in the Mobile Review article is also different to the current version. Shooting modes are now listed above the shutter button instead of in a menu. You can cycle through Panorama, Portrait, Camera, and Video modes. You can also access Google Lens, Slow Motion video, and Photo Sphere through a More icon.

“Beautification” in Portrait mode can now be set to Natural and Soft face-retouching in addition to switching it off altogether and there is a new “Google Lens suggestions” mode.

The Mobile Review article is in Russian but you’ll find plenty of product images and even camera samples on the page, if you’d like to check image quality yourself. The final device is expected to be launched some time in October.

Articles: Digital Photography Review (dpreview.com)

 
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Five Tips for Creative Pet Photography

24 Aug
pet photography creative black dog profile

Creative Pet Photography

How do you capture beautiful and unique photographs of your pets? While social media is littered with average snapshots of dogs and cats, it is possible to take your pet photography to the next level. In fact, it’s very simple.

In this tutorial, you’ll learn five ways to create incredible, unique photographs of your pets. These tips will allow you to capture unforgettable images of your beloved cat or dog, while at the same time preserving priceless memories.

husky dog - Creative Pet Photography

Tip #1: Get down to your pet’s level

When doing pet photography, it’s important that your camera is eye-level with your pet.

All too often, pet photographers shoot from an upright position, looking down. While this can sometimes work (we’ll discuss one example in Tip #3 below), it generally results in an unflattering pet portrait. This is because the ground makes for an unpleasant background.

Instead, crouch, kneel or lie down in front of your pet.

dog - Creative Pet Photography

I got down on my knees to photograph this dog (named Cookie Monster).

Notice the way the background changes from hard ground to a softer bokeh. You might even get a beautiful image of your pet’s head lying in the grass.

This is exactly what you want. It will make people stop and look twice. It will make your pet pop off the page.

So, when photographing your pet, get down low.

husky dog Creative Pet Photography

I photographed this husky mix, Penny, from a low angle.

Tip #2: Use a wide-angle lens

You can capture beautiful images of your pet no matter your equipment. However, it’s pretty standard to use a portrait lens, somewhere in the 50-85mm range, to photograph pets.

If you want a unique image, switch it up and pull out your wide-angle lens.

wide-angle Creative Pet Photography

With such a lens, the opportunities are endless. You can take an environmental portrait, one that shows off your pet in a stunning environment.

Or you can show your pet from a more intimate perspective by getting in close.

Regardless, you won’t go wrong using a wide-angle lens. You’ll capture beautiful pet portraits that will make your friends jealous.

Tip #3: Use the cute pose

The cute pose is my name for the pose that dogs often show. You know the one: in a sitting position, big eyes, looking up. The sort of pose that makes your heart melt.

cute pose - Creative Pet Photography

Lincoln exhibiting the cute pose.

How do you actually capture the cute pose?

I like to hold a treat just above my camera and tell my dog to sit. That way, he strikes the pose without any other prompting. His head points up to follow the treat. His eyes plead.

If you want a special image of your pet, the cute pose is an excellent way to go.

cute dog Creative Pet Photography

Tip #4: Get close

Do you want intimate pet portraits? I know I do.

One of my favorite ways to do this is to get close.

dog eye - Creative Pet Photography

I focused on the eye of this beautiful dog.

Many pet photographers often aim to capture the whole of their pet. But for a different image, try zooming in, getting close. Focus on a small part of your pet: their head, eyes, nose, or teeth.

The resulting image will be both intimate and unique. You’ll capture the details of your beautiful pet. And you’ll make more artistic, aesthetically pleasing images.

dog nose - Creative Pet Photography

I wanted to focus on the colorful fur of this dog, Hamilton.

To create intimacy in your pet photography, get close.

Tip #5: Capture the tongue

My final tip for unique pet photography is one of my favorites: capture your pet’s tongue in action.

People often strive to create static, formal images of their pets. These are nice, but sometimes you want to loosen up a little. You want to portray not just the physical features of your pet, but their personality.

That’s where the tongue comes in.

dog tongue - Creative Pet Photography

This involves a lot of waiting and watching. Some pets do more with their tongue than others. I like to wait for my dog to yawn. When his mouth is open, tongue lolling out, that’s when I press the shutter.

If you can capture your dog or cat with their tongue out, I guarantee you’ll love the resulting image. First of all, you’ll feel a connection to your pet, one that a formal portrait doesn’t really provide.

Second, viewers will feel a connection to your pet. They’ll start to understand his or her quirks better. They’ll start to appreciate your pet the way that you do.

licking tongue - Creative Pet Photography

To sum up: To capture unique images of your pets, make sure you photograph their tongue.

Conclusion

With so many photographs of pets in the world, it may seem impossible to distinguish yourself from the pack. It may feel like you’re getting the same photographs over and over again. Like you’re capturing photographs that aren’t intimate, photographs that don’t really give a window into the life of your pet.

However, if you follow the five tips above, your images will look beautiful, and they’ll also be more unique.

dog panting Creative Pet Photography

Capturing these unique pet portraits is simple.

  1. Start by getting low.
  2. Then whip out that wide-angle lens.
  3. Next, experiment with the cute pose.
  4. Fourth, get close. Really, really close.
  5. Finally, capture your pet’s personality by showing their tongue.

Once you get more experienced, you can mix and match different tips. You might photograph your dog in the cute pose with her tongue out. You might get low while using a wide-angle lens.

The possibilities for unique and stunning pet portraits are endless. So just get out there with your best friend, and start shooting. Do you have any other tips for unique pet portraits? Please share them in the comments below.

dog with blue collar - Creative Pet Photography

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Adobe Portfolio – This Unsung Hero of Creative Cloud Could Save You Money

24 Aug

I have used Adobe Lightroom since version 4 in 2012. After upgrading to version 5 and 6 in the following years, have really grown to appreciate its workflow, comprehensive suite of editing tools and the digital asset management.

When Adobe switched to a subscription model for Lightroom and announced they would no longer offer the product as a standalone license, I started looking at other options because I didn’t want to be locked into a perpetual pricing model. I was already paying nearly $ 100/year for a website and as a hobbyist photographer with a family and a full-time job, the thought of paying another $ 120/year for Lightroom seemed crazy.

That is until I discovered Adobe Portfolio and had a complete change of heart.

Adobe Portfolio website landing page

A bit of background

In 2015 I got serious about doing photography work for clients. At that time, I recognized the need to have a professional easy-to-use website to attract clients and showcase my work. I tried a number of options before settling on Squarespace.

Their $ 96/year fee was entirely reasonable to me because it provided access to dozens of templates as well as a worry-free website I did not have to update or maintain like a self-hosted WordPress installation requires. I appreciated how easy Squarespace was to use as well as its rich set of features including blogging, podcasting, and even tools for buying and selling goods and services.

A few years later as I was investigating software options to replace Lightroom, I stumbled across Adobe Portfolio entirely by accident. I certainly never intended this barely-mentioned service to be the fulcrum on which my decision to subscribe to the Adobe Creative Cloud Photography Plan would rest!

The more I examined what Portfolio had to offer the more I realized that the subscription which includes Portfolio along with Lightroom and Photoshop would be ideal for my needs as a part-time photographer.

This is the homepage for my own Adobe Portfolio site. When users hover over one of the sections with their cursor it shows the name of that particular photo gallery.

 

While Squarespace handled all my website needs with aplomb, it also offered many things I did not use at all. Portfolio, on the other hand, is almost anemic by comparison but uniquely suited to fit the basic needs of most photographers.

It does not have all the options, tools, integrations, and flexibility of other platforms including Squarespace, Wix, Weebly, and WordPress. But as a photographer who just wanted a simple way to showcase my work, it fit the bill perfectly.

For me the choice was clear. I could sign up for the Creative Cloud Photography plan for only a few dollars more than what I was paying for my Squarespace website and get Lightroom, Photoshop, and a beautiful website that did everything I needed. I canceled my Squarespace account, signed up for Creative Cloud, and couldn’t be any more pleased with how things have worked out.

Start with a theme

If you have a Creative Cloud plan you already have access to Portfolio and you can get started by visiting myportfolio.com and entering your Adobe ID. After that, you begin the process of building your website by selecting a theme. Right away you may notice one of the significant shortcomings of Portfolio compared to other website services. There are only eight themes from which to choose. This dearth of options can be a source of frustration if you’re used to a myriad of themes on other platforms.

Adobe Portfolio themes

Some photographers might balk in horror at the idea of only having eight template options but I saw it as a way of streamlining my design approach. I couldn’t spend hours poring over different templates if I only had eight to choose from, so it only took me a few minutes to select one that suited my tastes just fine.

The templates do allow for some editing and customization but you are limited to the basic look and feel of how they are laid out. This approach is similar to how many mainstream website platforms operate and is well suited to photographers who would rather spend their time taking and editing pictures instead of poring over lines of HTML code.

It’s also worth noting that you can change templates at any time. So if you are not sure where to start you can just pick one that you like and begin editing with the freedom to change it later. I settled on the Mathias template but any of the eight options would work well for photographers who want a simple, pleasing, and functional website.

Lightroom Integration

The ace in the hole for Portfolio and a standout feature that allows it to really shine despite its lean feature set is the way that it integrates seamlessly with Lightroom. This is a huge boon for photographers who rely on Lightroom for their editing and digital asset management, and one of the big reasons it makes sense to consider Portfolio as a worthwhile website platform.

On the editing screen, there is a giant blue Add Content button which gives you access to four different options: Page, Lightroom Album, Gallery, and Link. Any photo collections in Lightroom CC, or those you have synced with Lightroom CC from Lightroom Classic CC, will show up as options when you click Lightroom Album. There is no need to export images and upload them individually. Choose Lightroom Album and the full Lightroom Web interface will load which will let you select any of the albums to be automatically displayed on your website.

You can also manually upload pictures via drag-and-drop interface but I found it much easier to manage images by loading them from Lightroom.

add content Adobe Portfolio

Editing Website Content

In addition to loading images directly from Lightroom, you can create content right from within Portfolio. This is useful if you want a few image galleries to showcase your work while also having elements like an About Me and pricing pages. Individual pages can contain blocks of text and images with captions, and elements can be re-ordered using a simple drag-and-drop interface. There’s even an option for inserting a Contact page which can contain many different fields that you are free to customize.

After creating a Page, Lightroom Album, or Gallery the ever-present floating menu lets you edit the unique characteristics of the element you just created. This floating menu took me a little while to get used to but now I don’t mind it at all.

My contact page using Portfolio.

It never really goes away but you can expand and collapse the panes and use the three horizontal lines at the top to move it around so it’s not in your way. While you can’t go so far as editing the actual CSS code you can make changes to things like background color, page header, and fonts.

editing options Adobe Portfolio

It won’t take you long to get the hang of this workflow but you also may get frustrated at what initially feels like a criminal lack of options. As you poke around with the tools available you will likely hit some brick walls, just as I did, when you find out you can’t insert pull-quote text boxes, customize the appearance of individual blocks of text, or embed elements such as a blog feed. Slideshow options are limited as well, and this is where some people might hang their head in frustration and run back to WordPress with open arms.

However, keep in mind that the purpose of Adobe Portfolio is to offer a simple way for photographers to showcase their work. It’s not supposed to be a comprehensive all-in-one web publishing platform, and within the context of that framework, the limitations in terms of choices and options make a little more sense. You can add a custom logo, change the appearance of your pages, embed dozens of web elements, and even password-protect your site if you so choose.

site options box - Adobe Portfolio

Portfolio lets you use a custom domain name as well, and though this process is fairly straightforward it does add a little extra to the cost of the service. Portfolio nor Adobe cannot actually register your domain so you will need to go to a third-party site like Dreamhost, Hover, or Register to set it up. Most domain names cost about $ 15/year which isn’t much but it does bring the total cost to around $ 135/year when you add that to a Creative Cloud subscription.

setting up your page in Adobe Portfolio

The Happy Middle Ground

The entire idea of a website might seem like somewhat of an anachronism in today’s social media-saturated internet. Many photographers have elected to forego a traditional web presence entirely in favor of building a brand and following on social media.

The downside of this approach is that your audience experience can be tainted by design decisions and embedded advertising entirely beyond your control, and there are always going to be a subset of potential clients who choose not to engage on social media at all and will, therefore, miss out on the chance to view your work.

My family portrait gallery.

Websites might not have the shine and excitement that they once did but there are still plenty of good reasons to build and maintain your own presence on the internet. To that end, Adobe Portfolio offers a compelling set of features for literally no cost at all if you already subscribe to any of Adobe’s Creative Cloud plans.

If you don’t currently subscribe to Creative Cloud but do pay a third-party provider to host your website you might want to give Portfolio a second look. Think of it as paying about the same as you are now for a website, but with the added bonus of world-class photography software like Lightroom and Photoshop thrown in at no extra charge.

Adobe Portfolio options

Your opinion of Adobe Portfolio will likely depend on your needs for a website and your expectations of what Portfolio can offer. If you want an extensive do-everything website solution, Portfolio is going to fall short in many respects and you’d be better off with something like Squarespace.

But if you want a simple platform that lets you display your work for the world to see, in a manner that you choose, without any intrusive third-party advertising or corporate mining of your personal data, I can’t recommend Portfolio highly enough.

Rating: 5/5

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