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Archive for November, 2020

What might the Z6 II and Z7 II tell us about future pro Nikon mirrorless models?

02 Nov
The Nikon Z6 II and Z7 II are solid updates to the original Z6 and Z7 but neither represents a ‘new’ concept in the Z-series lineup.

With the Z6 II and Z7 II, Nikon has modernized its high-end Z-series full-frame lineup, and made its offerings more competitive against midrange and high-end ILCs from Canon, Panasonic and Sony. But while the Z7 II is the nominal flagship, it’s clearly not a ‘professional’ model in the same sense as the D6 and (arguably) the D850. While new to the market, neither Mark II model represents a new concept. This means that the gap which has existed at the top of the Z-series lineup since 2018 is still there.

So how might Nikon fill it? What can the Z6 II and Z7 II tell us about a future Nikon pro model?

I’m going to go out on a limb and say that instead of a single semi-pro or professional ‘Z8’ we’ll actually see two high-end models from Nikon, probably announced sometime next year, to be available in summer 2021. They will offer extremely similar controls and UI, but will be based around different sensors and intended for different purposes: one for speed and versatility, and one for resolution and maximum image quality.

For the sake of simplicity as you navigate this article, I’ll call them the Z8 and the Z8 S – with the ‘S’ here being my shorthand for ‘speed and sensitivity’.

Nikon Z8 key specifications (hypothetical)

  • 60MP sensor
  • 10 fps continuous shooting
  • Full-sensor PDAF down to -4EV
  • Comparable autofocus performance to D850
  • Expeed 7 processor
  • D800-level weather sealing
  • Dual card slots (2X CFe or CFe + SD)
  • High-res sensor-shift mode/s

Nikon Z8S key specifications (hypothetical)

  • 20-24MP sensor (possibly Sony 24MP stacked-CMOS from a9/II)
  • Super-high maximum ISO
  • 20 fps+ maximum continuous shooting (unlimited buffer)
  • High-quality electronic ‘silent’ shooting
  • Full-sensor PDAF, sensitive down to at least -5EV
  • Comparable autofocus performance to D5/6
  • Expeed 7 processor
  • D800-level weather sealing
  • Dual card slots (2X CFe)
  • High-quality 4K video

Both models will feature D850-level build quality and will offer a similar UI, with a button-and-dial logic for switching exposure modes (rather than the Z6/7’s exposure mode dial). They’ll use the same battery pattern as the existing Z6/7-series, keeping the standard bodies relatively small, but both will be compatible with a twin-battery vertical grip, which will add at least one uniquely ‘pro’ expansion feature (a LAN port, maybe? Or a rear OLED sub-display?). Nikon isn’t going to make the ‘only one card slot’ mistake again so expect twin slots, either both CFexpress Type B, or maybe CFe + SD in the case of the resolution-focused Z8.

Expect the Z8 to feature a relatively low-resolution sensor in the 20-24MP range, paired with a new faster processor

The hardest thing to predict is which sensors Nikon will use in its next-generation of high-end full-frame ILCs. Let’s take the hypothetical Z8S first – the high-speed action-focused model. The 24MP sensor used in the current Z6 and Z6 II is excellent, but dated. It’s fast enough for most photography, but likely not fast enough to support super high frame rate shooting, really cutting-edge autofocus, or next-level 4K video.

It’s possible that Nikon might reuse the Toshiba/Sony sensor developed for the D6, or maybe a version of the 24MP stacked-CMOS chip introduced in the Sony a9 (assuming that Sony Semiconductor is willing and able to supply it). Either way, expect the Z8S to feature a relatively low-resolution sensor in the 20-24MP range, paired with a new faster processor called – and I’m going to go out on a limb again – Expeed 7.

The Sony a9 and more recent a9 II have defined what a ‘professional’ sports and action-focused mirrorless camera should be. I expect Nikon will want to put a Z-mount product into this category as soon as possible.

Low-ish resolution will be the tradeoff for what I’d expect to be a very high frame rate and near-unlimited buffer. The 2020 Olympics never ended up happening but assuming the world of sports and events gets back on track in 2021, you can bet that Nikon will want its mirrorless cameras to be visible on the sidelines alongside high-speed pro models from Canon and Sony.

While it’s possible that the Z6 II will remain Nikon’s flagship video/stills hybrid camera for a while longer, I think it’s more likely that a hypothetical Z8S will represent a step up, offering meaningfully different (better) 4K, aimed at satisfying the needs of semi-pro and professional multimedia shooters. If the sensor does end up being in the 20-24MP range, It won’t be able to shoot 8K but maybe that’s not a bad thing…

A continuous shooting rate of 10-12 fps seems reasonable, but the Z8 doesn’t need to be any faster than that

It’s easier to predict the chip which might go into a hypothetical resolution and IQ-focused Z8. While not currently listed as available to third parties, the Sony Semiconductor 3.76µm 61MP sensor currently found in the a7 IV may become an option for Nikon in the coming months. While not a massive step up in terms of effective resolution over the 46MP sensor in the Z7 II, this high-speed BSI-CMOS chip is a solid technological leap forward.

If a version does make its way into one of Nikon’s future high-end ILCs, I’d expect to see it paired with beefed-up IBIS and a sensor-shift high-resolution mode. A continuous shooting rate of 10-12 fps seems reasonable, but a 60MP camera doesn’t need to be any faster than that.

The Nikon D6 and D850 feature backlit controls for comfort during low/no-light shooting. I’d expect that future professional Z-series cameras will do the same. This shot shows a D5, with its top and rear LCD status panels also illuminated (in pale blue). Maybe a future ‘Z8’ could have an optional vertical control grip with a secondary rear status LCD?

As for autofocus, I’d expect the Z8 and Z8S to offer extremely similar systems (at least in terms of how they operate) which get much closer to the experience of the D850 and D6, including a true analog for 3D AF tracking. The Z6 II and Z7 II seem somewhat improved over the original-generation, but Nikon knows it needs to close the pro performance gap with Canon and Sony, and I expect that this will be a major priority (and a major marketing-point) in future high-end Z-series model.

Much of what I wrote above is wishful thinking, but while this is guesswork, it is somewhat informed

As for cosmetics, I wouldn’t be surprised if Nikon takes the opportunity to break from the slightly angular, skinny-feeling Z6/7-series and create somewhat larger, curvier bodies, somewhere between the D780 and D850. Expect a 10-pin remote release socket and flash sync on the front of the body (like the D850 and D6) and a return to DSLR-style rubberized, recessed control dials.

So that’s my article. And I won’t lie, much of what I wrote above is wishful thinking (I guess I just really want a Z8…). Despite the oft-expressed conviction among commenters that DPReview sees product roadmaps years ahead of time, I know no more about what Nikon is planning in 2021 and beyond than you do. But while this is guesswork, it is somewhat informed, both by Nikon’s approach to building out its DSLR lineup, and by the gaps and omissions in the current Z-series lineup compared to its competitors.

What do you think? Feel free to make your predictions in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron 28-200mm Wins Grand Gold Prize at Digital Camera Grand-Prix 2021

02 Nov

The post Tamron 28-200mm Wins Grand Gold Prize at Digital Camera Grand-Prix 2021 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron 28-200mm Grand Prix prize

Tamron’s 28-200mm f/2.8-5.6 Di III RXD superzoom has been awarded the Grand Gold Prize in the Interchangeable Lens/Mirrorless category at the Digital Camera Grand-Prix 2021. Tamron has also taken a Gold Prize for its 70-180mm f/2.8 Di III VXD telephoto zoom in the Third Party/Mirrorless category.

Grand Prix prize 70-180mm lens

The Digital Camera Grand-Prix honors the best cameras and lenses of the year; all gear debuted during the 2020 fiscal period is eligible, and winners are selected by photographic authorities.

In past years, awardees have included the Sony a7R IV (for Camera of the Year, 2020), the Nikkor Z 58mm f/0.95 S Noct (given Editors Award, 2020), and the Sony FE 24mm f/1.4 GM (for Lens of the Year, 2019).

But while Tamron has frequently received prestigious Digital Camera Grand-Prix prizes – in fact, the company has been awarded in each of the last six years – the new 28-200mm f/2.8-5.6 perhaps stands alone, thanks to its breathtaking combination of focal length range, compactness, and image quality.

In fact, the Tamron 28-200mm f/2.8-5.6 is the ultimate superzoom. It’s built for Sony full-frame cameras, and Tamron has ensured that it can stand up to the rigors of Sony’s mirrorless lineup; the 28-200mm is effortlessly sharp on high-resolution bodies such as the a7R IV, from 28mm to 200mm, at all apertures.

In other words:

You can capture stunningly sharp landscapes at 28mm, before zooming in for some nice sharp portraits in the 50mm to 150mm range, before capturing a sharp telephoto street shot or two at 200mm.

This is unprecedented for superzooms, which are equally well-known for their overall usefulness and frequent image quality issues. You can either have flexibility or sharpness, but not both, or so lens manufacturers seem to think – yet Tamron has proved that it’s possible to keep it all: sharpness, focal length flexibility, plus solid build quality, autofocus speed, and more.

I haven’t even mentioned the 28-200mm’s maximum aperture, which varies from f/2.8 to f/5.6 across the focal length range. The f/2.8 maximum aperture at the wide end of the range further increases the lens’s versatility. For night shooters – especially astrophotographers, who require clean images at relatively fast shutter speeds – an f/2.8 aperture is a must, and the 28-200mm can provide it.

The 28-200mm f/2.8-5.6 is offered for a very reasonable price:

$ 729 USD, which is cheaper than many native Sony lenses, and brings an incredible bang for your buck when you consider what you’re getting.

So if you’re interested in a lens that can do pretty much anything, from landscapes to street photography to portrait photography and more, check out the Tamron 28-200mm f/2.8-5.6 Di III RXD.

(Also, take a look at our review of the incredible Tamron 70-180mm f/2.8 lens for Sony.)

Now over to you:

What do you think about the 28-200mm f/2.8-5.6? Are you impressed by Tamron’s innovation? Are there any competitors that you like better? Share your thoughts in the comments!

The post Tamron 28-200mm Wins Grand Gold Prize at Digital Camera Grand-Prix 2021 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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DPReview TV: The episode in which we encourage you to play with fire

02 Nov

We realize it’s not the conventional wisdom, but you should probably go play with fire. Why? Because, from fire comes art. Tell your mom we said it’s OK.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Articles: Digital Photography Review (dpreview.com)

 
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The Sony ZV-1 is the best camera for vlogging

01 Nov

Whether you’re just sharing clips with friends or you’re launching an online on-camera career, vlogging matters. We looked at cameras with selfie-friendly screens, wide-angle lenses, microphone inputs and great video quality, and Sony’s compact ZV-1 came out on top.

Articles: Digital Photography Review (dpreview.com)

 
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Tips for Photographing Birds in Flight

01 Nov

The post Tips for Photographing Birds in Flight appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

birds in flight

This article introduces some key concepts for photographing birds in flight.

One of the most necessary ingredients is patience; you may often photograph an entire day and not get a single usable image. In most cases, there is some luck involved – you have to be in the right place at the right time, after all!

But hopefully, this article will give you the tools you need to improve your luck and capture stunning birds in flight photos.

heron in flight

Choosing a location

Let’s begin with how to choose the best location for your birds in flight shoot.

Near rivers or lakes is a great place to set up, because of the abundant food sources for the birds. Find a position on a hill that will put you at eye level with the birds.

And check out the position of the sun, because you should not be shooting into it. Light coming from behind you or from the left or the right of your position is preferred.

Also, birds will generally take off and land into the wind, so knowing the wind direction of your location will help you predict the flight direction of the birds you are photographing.

canada gees in flight

Lighting

Good lighting plays a key role in successful birds in flight photography.

As with any other kind of outdoor photography, the golden light of morning and evening is best. However, because you are shooting birds in the sky, these times can be extended and you’ll still get nice lighting on your subject.

Make yourself invisible

Some birds will not venture near humans, so you need to make yourself as invisible as possible. 

In some cases, this might be as simple as not wearing brightly-colored clothing. However, avid bird photographers may also want to set up some kind of blind. Blinds can be purchased inexpensively from most hunting stores.

Also, sitting down will make you less noticeable to the birds than if you are standing.

Study your subject

Study the birds you enjoy photographing to learn their habits.

How does this help?

Knowing the birds can help you predict their movements. For instance, many birds, especially the larger species like herons or eagles, will relieve themselves just before they fly. Knowing this can help you be ready to shoot just before your subject takes off.

flying heron in fall

Lens

Choosing a good lens for birds in flight photography can be a challenge. I recommend you use the fastest and longest lens you can afford.

For your best chance at a great shot, you’ll need at least a 300mm lens, but a 500mm to 600mm prime lens is preferable.

(Unfortunately, these lenses don’t come cheap!)

Tripods

A great tripod head for birds in flight, especially if you’re using a large lens, is a gimbal head. It balances your camera and lens while requiring very little force to pan left and right or up and down.

A less expensive option is a pan head, which also allows for movement in all directions on two different axes. And while ball heads can be used for birds in flight photography, they’re not a very stable solution for large lenses.

sparrows

Exposure

When setting up your camera to shoot birds in flight, keep in mind how the exposure triangle of shutter speed, aperture, and ISO plays an important part in getting the perfect exposure.

  • Shutter speed – You need your shutter speed to be fast enough to freeze the bird’s wings in your photo. While small birds’ wings may flap at approximately 40 beats per second, larger birds, like herons and eagles, flap around 2 beats per second. Many species of duck are fairly fast flappers, at around 5 to 10 beats per second. So the question remains: How fast should you set your shutter speed to freeze wing motion? Go for at least 1/1000s to 1/2000s. Even faster is better, if possible!
  • Aperture – In order to gain as much depth of field as possible, you should use the smallest aperture you can afford. Select your f-stop (the aperture number) based on your lens’s sweet spot (where your lens focuses most clearly), which is probably around f/8.
  • ISO – You want to keep your ISO setting as low as possible to avoid digital noise (graininess) in your photos, although most modern camera models do a decent job with higher ISOs.
heron as a bird in flight

So how do you bring all three elements of your exposure triangle together to get the best exposure? You may consider simply using your camera’s Shutter Priority mode, in which you set the shutter speed and the camera sets the aperture (and ISO on some models).

However, I recommend you try this alternative method:

  1. Set your camera to Aperture Priority mode
  2. Set your aperture to f/8 (the sweet spot) to get the sharpest-possible images
  3. Using your camera’s light meter, check the exposure of the scene where you hope to photograph your birds in flight. You will probably find that some areas of the scene are darker than others.
  4. Using the exposure reading you get from the darkest areas of the scene, adjust your ISO to bring your shutter speed up to at least 1/1000s. It follows that when your bird flies by and you are panning your camera into a lighter area, your shutter speed will increase to above 1/1000, and when your subject is in the darker areas, your exposure will still be appropriate.

Now, here’s one final step to tweak your exposure:

Have you ever noticed how, when photographing birds in flight, your image will seem dark and be missing details, especially in dark feathers? To bring out more detail in dark areas, change your EV (exposure compensation) setting to +0.3. This will add a little more light (though depending on the lighting, you may need to add a bit more exposure compensation).

On the other hand, what if you are photographing a white bird, such as a swan? The white bird’s image will tend to get “blown out,” so that you’re missing detail in the whites. To compensate, adjust your EV value to -1.0 to -2.0. This will pick up the detail in those white-feathered birds. (If you are thinking that your background will be underexposed, you’d be right – but you are photographing the swan, not the background!)

Focusing

To keep your flying bird in focus, set your camera’s focusing mode to continuous focus.

In this mode, as long as you have the shutter button depressed halfway and are focused on the bird, the camera will continuously acquire focus as the bird moves. Canon calls this function “Al Servo,” while Nikon calls it “Continuous Servo” or “AF-C.”

Also, both Nikon and Canon will allow you to expand your AF points so that your camera can identify moving subjects at adjacent points (which will help you keep your moving subject in focus).

Nikon also offers two AF area modes that can work for birds in flight:

The 51-point Dynamic Area AF and the 3D Tracking area mode.

Both of these AF area modes will search at all 51 AF points for the movement of your subject, although these modes can be a little too slow when focusing in some situations.

bald eagle flying over nest

Composition

Composition can be the most difficult aspect of photographing birds in flight.

But all the basic rules of composition remain valid here. You always want to have more space in front of the bird than behind it; a good rule is to have a least two to three times the space in front of the bird.

One thing that helps maintain this space is to place your focus point in the center of the frame and try to keep it on the bird’s eye. This method works really well on large-beaked birds, such as herons.

Also, while most birds in flight images include just one bird, look for those occasions where you can capture two or three birds at once (for a great result!).

gull flying in snow

Technique

As the bird is flying toward you, quickly get your focus locked.

Then, when the bird is close and in a position you like, fire away. Keep panning even after you’ve stopped shooting. This follow-through motion will keep your last image in focus better than an abrupt stop.

When panning as the bird flies by, you want to match your panning speed to that of the bird. And depending on your shutter speed, this will help keep the bird in focus while the background may be blurred.

You want to keep the bird’s eye in focus and sharp; this is key. If you are handholding your camera, try to keep your left hand under the barrel of your lens and your elbows close to your body, as this will help you maneuver the camera as steadily as possible. If you are standing, keep your legs spread out to create a good sturdy base.

If you are planning to hold your location and position for a time, I recommend using a tripod. This will help keep your camera steady, especially if you are using a very heavy lens.

birds in flight duck

So stay alert and look for opportunities to capture great birds in flight images. It will take lots of practice to get that perfect shot.

But once you get it right, you will be hooked!

Also, if you’re interested in more bird photography tips, check out these articles:

  • 10 Incredible Bird Photography Tips for Beginners
  • A Turn of the Head – Creating More Compelling Bird Portraits
  • An Introduction to Bird Photography

The post Tips for Photographing Birds in Flight appeared first on Digital Photography School. It was authored by Bruce Wunderlich.


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7Artisans has a new 18mm F6.3 pancake lens for APS-C mirrorless cameras

01 Nov

Chinese lens manufacturer 7Artisans has released a new 18mm F6.3 pancake lens for APS-C camera systems.

The ultra-compact fixed-focus lens is constructed of six elements in four groups. Its 18mm focal length is roughly a 27mm equivalent on most APS-C sensors, it has a minimum focusing distance of 35cm (1.1ft) and it weighs just 51g (1.8oz).

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The lens is being offered for Canon EF-M, Fujifilm X, Micro Four Thirds and Sony E mount camera systems. It’s available to purchase for on Amazon and other authorized 7Artisan retailers for $ 69.

Articles: Digital Photography Review (dpreview.com)

 
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