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Gear of the year 2018 – Jeff’s choice: Nikon Coolpix P1000

26 Dec

The evolution of the super zoom camera that resulted in the Nikon Coolpix P1000 reminds me of the development of rollercoasters over the last twenty years. Every year, amusement parks would try to out-do the competition. Bigger drops. More inversions. Faster speeds. Sitting, standing, flying. At some point you just can’t go any further without putting riders in danger.

The Coolpix P1000 won’t put anyone in danger (I hope!), but it does symbolize the culmination of manufacturers trying to make their cameras harder, bigger, faster, stronger (with apologies to Daft Punk). I’ve been in the digital camera business since the beginning and recall when breaking the 10X zoom barrier was a big deal.

Out of camera JPEG | ISO 110 | 1/400 sec | F6.3 | 1700mm equiv.
Photo by Jeff Keller

After manufacturers seemed to pause at 50X zooms, Nikon went for broke with its Coolpix P900, which had an 83X lens that topped out at 2000mm equivalent. When Nikon first told us about the Coolpix P1000, with its 125X, 24-3000mm equiv. lens, I didn’t know how to respond. I do, however, recall thinking “wow… but why?”.

After getting my hands on a P1000, my initial feelings were unchanged: it’s cool, but why does one need so much zoom? The P1000’s lens is so prominent that the camera got attention everywhere it went, whether at a wildlife refuge, the zoo or a random tourist attraction in Vancouver, where a man walked up to me and asked, “is that a P1000?”. (Turns out he was a DPReview fan and knew his stuff.)

The people to whom I showed the camera weren’t asking about sensor size, viewfinder resolution or video. They wanted to see that lens could do. So, I’d have them point it toward an object in the distance or, in the case of the zoo, at a monkey that could barely be seen with the naked eye, to see for themselves. It’s a great party trick.

Out of camera JPEG | ISO 560 | 1/400 sec | F7.1 | 2600mm equiv.
Photo by Jeff Keller

I spent over a month shooting with the Coolpix P1000 while writing its review and grew to really enjoy using it for the same reason as those who asked me about it: the lens, and what it could do. During those weeks I took photos of zoo animals, birds, cruise ships and, of course, the moon. It felt a bit awkward crossing paths with other photographers at a nearby bird refuges who were each carrying two high-end DSLR bodies, with huge telephoto lens attached, while I was holding a ‘Coolpix’ that had a much longer focal range. What I’m getting at here is that the P1000 inspired me to take photos that I never would (or could).

While shooting around with the P1000 was a blast, I usually had to make a decision about whether I wanted to haul it around with me. The camera weighs over 1.4 kg (3 lbs), so if I didn’t think that I needed a lot of zoom (which was most of the time,) the P1000 stayed home. The P1000 also taught me that, despite owning what I thought was a good tripod, I needed something much more robust, since the camera is so front-heavy that my tripod head would slowly tilt downward. My first attempt at moon photos were essentially timed for the moment when the moon entered the frame as the tripod sagged.

Out of camera JPEG, cropped to taste | ISO 180 | 1/500 sec | F6.3 | 1800mm equiv.
Photo by Jeff Keller

One downside of a lens as long as the P1000’s is that atmospheric distortion is a problem. You could easily see ‘waves of haze’ in my long telephoto shots, but I reminded myself that even the most expensive telephoto lens would see the same. The camera’s noise reduction system exacerbates the problem, turning distant subjects into an impressionist painting. And, despite having Raw support, the P1000’s small sensor didn’t give me a lot of detail to work with.

Out-of-camera JPEG | ISO 100 | 1/500 sec | F5.6 | 1300mm equiv.
Photo by Jeff Keller

Ultimately, none of that mattered. I wasn’t shooting for National Geographic, I was shooting for me. And these days, that means social media rather than 11″ x 17″ prints on my wall. Would I take it on a trip to Southeast Asia or a night out on the town? Certainly not. But would I go somewhere in the Pacific Northwest to photograph things that I normally wouldn’t? You bet.

Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2018 – Barney’s choice: Nikon Z7

24 Dec

This year seems like it went by in a flash (although thinking back to some of the news headlines I’m still tempted to say ‘good riddance’). In the photo industry, 2018 has definitely felt like a year of transitions: not least because this was the year that Canon and Nikon finally entered the full-frame mirrorless market, and in so doing began the slow process of moving beyond their respective legacy EF and F mounts.

Appropriately, perhaps, I sold a lot of camera equipment this year too, including my long-serving/suffering DSLR and several lenses. It’s always hard to say goodbye to gear, but there’s no point keeping expensive cameras and lenses around if they’re not getting used. The end result is that without a ‘main’ camera to reach for I’ve been feeling a little transitional myself. Of course I’m lucky that I can raid the DPReview gear cupboards when I need to, but more often than not I’ve been grabbing one of my old film cameras when I want to go out shooting. Sometimes I’ll even remember to grab a roll of film, too.

But enough about me – let’s talk about me!

My pick for Gear of the Year is the Nikon Z7, which is actually one of the few digital cameras released in the past 12 months that I’ve enjoyed spending any significant amount of time shooting with. That doesn’t mean I’m writing about it by default, just because I can’t think of anything else – far from it. For the kind of photography that I do, it’s close to being the perfect camera.

When the light gets low, the Z7’s autofocus system can start to struggle. Usually, though, if you can point it at a contrasty line or point of light (like the frames of the windows reflecting the sunset in this shot) it’ll lock on just fine.

My preferred style of photography (“interesting boring” to quote a friend whose opinion I don’t remember asking) rarely stresses any camera’s continuous autofocus system. I actually shoot manual focus lenses much of the time, and I almost never need to fire off images faster than 1-2 frames per second. As such, two of the major shortcomings of the Z7 are pretty much irrelevant to me. I’d love a taller handgrip, but I’ll take the Z7’s rather short, stubby one for the sake of a smaller and lighter body. Ditto a single card slot.

Speaking as someone who lugged a D850 (my favorite camera of last year) up and down four mountains in a day in 90+ degree heat in Japan this August,* I can tell you that the Z7 is a very pleasant traveling companion by comparison. And shooting the production of a music video back in August, coming from a D810/D850 I was very impressed by how easy the Z7 was to get to grips with, too, even without an instruction manual (the camera was still strictly embargoed at the time and the manuals were still being translated).

It’s only been very recently that electronic finders have started to compete with the best DSLRs in terms of sharpness and responsiveness

Jumping back to earlier in the summer, when Nikon first briefed us on its then-unnamed camera, it was clear that the company’s engineers had set some pretty tough internal benchmarks for what became the Z7. One of those was image quality, and another was the viewfinder experience – both of which had to be comparable to the D850. I’ve never been particularly nostalgic about the optical viewfinders in DSLRs – the sooner they’re replaced by good EVFs the better in my opinion. But note my use of the crucial word ‘good’ in that last sentence. It’s only been very recently that electronic finders have started to compete with the best DSLRs. The Z7’s EVF is one of the sharpest and most detailed out there. So sharp and detailed, in fact, that I often find myself forgetting that its electronic at all, except in really high-contrast situations.

Ruby Beach, on the Olympic Peninsular, a few hours’ drive west from Seattle. Shot with the compact Z 24-70mm F4, this shot demonstrates the lens’s high contrast and almost clinical sharpness.

Where I tend to run into the Z7’s limitations, though, is with low-contrast subjects in subdued light when, even in AF-S mode, its autofocus system becomes… let’s say… unpredictable. If you’ve ever used first-generation Nikon AF systems such as those found in the likes of the F/N90X and F4, you’ll be familiar with the need to find a bright point of light or a contrasty line or something around the desired plane of focus for the AF system to lock onto. If you can’t find one, good luck and happy hunting. Literally.

Fortunately, the Z7’s EVF remains sharp and contrasty even in poor light, so if autofocus gives up completely I just pop it into magnified manual focus mode and do things the old fashioned way. The effort is usually worth it, especially with the 35mm F1.8, which – while it might not have the nicest bokeh around – is sharp enough for landscape work at F1.8.

Another shot taken with the 24-70mm, in Japan. At F13 (for the sunstar) diffraction is taking a bite out of critical sharpness.

In fact, Nikon appears to have designed all three of the new ‘S’ lenses for optimal sharpness, with admirable success. The result is images which are phenomenally detailed across the frame, but lack the pleasant bokeh of certain Nikon and third-party F-mount lenses. Of course, if you have a favorite F-mount lens that you want to use instead, there’s an adapter for that.

Thanks to the built-in stabilization and wide, shallow dimensions of the Z mount, the Z7 has a lot of potential as a 46MP digital back

What I’m most looking forward to, though, is trying out the Z7 with my collection of older third-party primes. High quality adapters from the likes of Novoflex are slowly starting to become available, and thanks to the built-in stabilization and wide, shallow dimensions of the Z mount, the Z7 has a lot of potential as a 46MP digital back. I have a Leica M to Nikon Z adapter on order, and I can’t wait to try out: there’s an uncoated 1936 Leica 50mm Summar on my shelf just crying out for some love…

The Z7 pictured next to one of my personal cameras, a much-used mid-60s F. As you can see, the new Z mount is significantly larger than the old F mount, despite covering the same imaging area. This gives Nikon’s optical engineers a lot more flexibility when designing certain kinds of lenses for the new mount.

Nikon could have played it safe with the Z7, but its engineers decided to aim for high-end and professional photographers and launch the Z7 with their best sensor. It was a risky decision, and I can completely understand why some of the photojournalists I’ve spoken to haven’t taken to the Z7. Without a doubt, its autofocus isn’t on a par with the D850 or D5, particularly in dull, low-contrast conditions. Speaking to wildfire photographer Stuart Palley recently, it’s obvious that Nikon has some work to do before he’ll feel comfortable leaving his DSLRs at home. But while the Z7 isn’t quite the ‘mirrorless D850’ that we had hoped for, it’s close enough for me. I think I might buy Stuart’s.

Nikon Z7 Sample Gallery

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* Impressed? I think I was trying to prove a point about how much of a pain DSLR photography is, with the intention eventually of writing an article about it. I suppose this is that article. [Return to text]

Articles: Digital Photography Review (dpreview.com)

 
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Nikon AF-S NIKKOR 500mm F4 D II ED lens with rare grey color appears on eBay

20 Dec

A new eBay listing details a rare grey Nikon AF-S NIKKOR 500mm F4 D II ED lens in ‘very good’ condition with included case and accessories. According to the auction listing, the lens is fully functional with only ‘minimal to moderate’ signs of use on the barrel. ‘The glass is clean,’ according to the seller midwestphotoexchange, an authorized Nikon seller with a 99.8% positive rating with more than a thousand transactions. ‘The aperture blades are oil and corrosion free, and their action and control are snappy.’

The lens features the Nikon F mount and is compatible with all of the company’s SLR and DSLR models, though the seller warns it won’t meter on camera bodies made before 1977. The telephoto lens was manufactured in Japan at an unknown date and notably features a grey body overlaid with a prominent, bright red Nikon logo.

The lens is offered with a CT-502 hard case, HK-28 lens hood, both the front cover and rear cap, lens and case straps, and an extra drop-in filter holder. The seller, who will ship the item from Columbus, Ohio, is offering the lens bundle on eBay with the Buy it Now price of $ 3,995 USD, though the listing also allows interested buyers to make an offer on the item.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Japan officially lists the D5500 and D7200 as discontinued

20 Dec

The Nikon D5500 and D7200 DSLRs have officially been discontinued, according to the Nikon Japan website.

It’s been rumored for some time now, but as reported by Nikon Rumors, Nikon Japan has confirmed both APS-C cameras are discontinued on its website.

The D5500 and D7200 were launched in January and March 2015 and were superseded by the D5600 and D7500, respectively. Another fun bit of trivia is the D5500 was the first Nikon DSLR to feature a touchscreen when launched.

As Nikon’s APS-C lineup dwindles, it’ll be interesting to see how much Nikon invests into its crop sensor DSLRs going forward. Nikon Rumors also notes there hasn’t been much hearsay in the rumor mill regarding any potential APS-C mirrorless systems.

It’s also worth noting that while listed as discontinued by Nikon Japan, the D5500 is still available for purchase at Adorama and currently listed as back-ordered on B&H, while the D7200 is still in stock at both Adorama and B&H.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a7 III vs. Canon EOS R vs. Nikon Z6, which is best?

18 Dec

Introduction

Sony had the full-frame mirrorless market to itself for nearly five years. And, while it’s been doing clever and interesting things with the likes of the a9, it’s the more basic a7 models that have had the most impact. The original a7 was the least-expensive full-frame camera yet launched, which helped make the format look more accessible than it had been since the film era.

They’re all good cameras but there are practical differences

But it’s no longer alone, with both Nikon’s Z6 and Canon’s EOS R both arriving priced in the $ 2000 region. The Canon stands out a little, costing 15% more and, with its simpler control system, not being so overtly aimed at committed enthusiasts. But in most respects, these cameras are direct competitors.

Before going any further, we should make clear that they’re all good cameras (most modern cameras are), they’re all very well built and can all take great photos, so don’t listen to anyone who says any one of them is terrible. However, there are practical differences, so we’re going to look at what each offers in different shooting situations.

Loyalty and inertia

This article primarily looks at the cameras themselves, but lenses should play a fundamental role in any decision. If you have no commitment to an existing system, you can skip ahead to the next slide, but if you already own some lenses, does that mean you have to stay on-brand?

It might be worth taking stock of how committed you really are to your existing lenses

Owners of Nikon lenses can adapt them to work on Sony cameras (and, in theory, someone enterprising could develop an F-mount to Canon RF adapter). But Nikon’s complex legacy of autofocus and aperture actuation systems mean adapting them to other bodies often gives a pretty poor experience. This gives the Nikon Z6 a bit of an edge for F-mount shooters but even then, any lens without its own AF motor is rendered manual focus only on the Nikon.

Legacy DSLR lens compatibility
Canon EF mount lenses Nikon F mount lenses Sony/Minolta A-mount lenses
Canon EOS R Full function (+ optional control ring or filter) Unproven or limited* Unproven or limited*
Nikon Z6 Unproven or limited* Full function with AF-S, AF-P and AF-I lenses. Others MF only Unproven or limited*
Sony a7 III Full Function with Sigma MC-11 or Metabones adapters Unproven or limited* Full Function
*While such adapters are theoretically possible, most that exist at the time of writing are simple adapter tubes with significant limitations in terms of focus and aperture control.

Canon EF lenses work similarly well on the EOS R and on the Sony a7 III, so need not be a deciding factor in making that choice (though long teles work better on the EOS R). If you own any other Canon accessories, that might tip you towards the EOS R, but if anything, Canon’s forward-thinking in the 1980s means EF lens owners have the most flexibility.

However, especially if you’re coming from APS-C, it might be worth stopping and taking stock of how committed you really are to your existing lenses. That prime lens you like so much on APS-C won’t fulfill the same role on full-frame. And if you only have one really great lens, you may find its second-hand value allows you to switch systems without too much of a loss.

Native lenses

With its five year headstart, Sony has a wider range of native lenses available for its E mount. Sony advocates point to the sheer number of lenses when trying to point-score, and it’s true that the company has developed some small lenses with fast, well optimized autofocus. But the E-mount is a relatively young, raw system and some of those lenses (the 28-70mm F3.5-5.6, the 85mm F1.4, 35mm F1.4 and 24-70s, for instance), possess various quirks in terms of optical quality or AF speed. Others, such as the 24-105mm F4 and 24mm F1.4 are fantastic, though.

These are all young systems so, as well as checking whether the lens you want exists, it’s probably worth researching their performance

However, it’s not safe to assume Canon and Nikon will steer clear of these same pitfalls. Canon’s 24-105mm F4 seems very good. It’s fast and quiet to focus and has been well optimized for video (presumably for some future body that’s good at video). But its 35mm F1.8 and 50mm F1.2 aren’t as snappy, either because they have a long focus throw (the 35mm is a Macro), or because they use ring-type focus motors better suited to DSLRs.

It’s a similar story with Nikon. The 24-70mm F4 is a solid all-round zoom but the bokeh on the 50mm F1.8 isn’t exactly attractive, which is disappointing on a 50/1.8 costing $ 600. Also, it’s interesting to note that the native Z-mount lenses appear to focus more slowly than some F-mount lenses designed for DSLRs. There’s a chance that from a future perspective, these early Z lenses will stand out as the ones to avoid if you want full AF performance on Z cameras.

Sony’s willingness to share its mount specs means an increasing degree of third-party support

Sony’s headstart, but also its willingness to share its mount specification means it has an increasing degree of third-party support. This spans the range from dedicated, full-function mirrorless-specific designs, such as Tamron’s 28-75mm F2.8 and Samyang’s 35mm F2.8, through to the modified DSLR lenses from Sigma and a host of niche manual focus lenses from smaller makers, such as Venus Optics. It’ll be interesting to see which of these get reverse-engineered to work with the RF and Z mounts, but neither camera maker seems supportive of this process.

Ultimately these are all young systems so, as well as checking whether the lens you want exists, it’s probably also worth doing some research into their performance, to ensure you’re not paying to be a guinea pig for a large corporation. You might also consider whether a good F4 zoom gives you much of a benefit over an F2.8 on APS-C. Or perhaps choose to wait to see how each system develops.

Core features

The three cameras have some similarities but there’s also a divergence of spec that suggests none of the camera makers have yet worked out who the target photographer is, and what they need.

The Sony and Nikon both offer 24MP sensors (which are likely to be pretty similar other than, perhaps, differences in phase-detection layout and masking). The Canon offers a variant of the 30MP Dual Pixel chip used in the EOS 5D IV. The difference between 24 and 30MP is pretty small: 11% in each direction, but that Dual Pixel design offers something distinctive.

The Sony has more control dials (three plus a dedicated exposure comp dial), while the other two have top-plate settings displays, which appear to be making an unexpected comeback. All three cameras are solidly built and have pretty comfortable hand grips, and each promises some degree of environmental sealing. The main handling difference is how the cameras let you choose your AF point:

AF Joystick Touchscreen AF Touchpad AF
Canon EOS R No Yes Yes
Nikon Z6 Yes Yes No
Sony a7 III Yes Yes Yes

However, while the a7 III’s touchscreen is put to good use for AF point control, it’s the least well utilized for other functions. Both the Canon and Nikon provide more extensive touch control of menus and settings, giving a more consistent experience.

One of the other big spec differences is that the Sony still uses a 2.36M dot viewfinder and 0.9M-dot rear screen, while the Nikon and Canon both go to 3.68M-dot finders and 2.1M dot touchscreens. Finally, the a7 III has a much larger battery than the other two, giving it a huge advantage.

But, rather than dwelling on specifications, we want to look at how the three cameras have performed in different shooting situations.

Portraits

Our choice: Sony a7 III

Anyone arriving from DSLRs is likely to be impressed by any of these cameras for portrait shooting. They can all focus precisely, even when using off-center AF points with a level of consistency that DSLRs can’t match, and will do so even if you choose to shoot with shallow depth-of-field.

The Sony is the easiest of the three to shoot portraits with. Eye-detection AF has existed for a while but Sony’s push-button implementation is hugely impressive for its ability to identify and tenaciously follow your subjects’ eyes. Canon’s Pupil Detection isn’t quite as dogged and only works for single AF acquisition, requiring that your subject stays much more still. It’ll happily focus the 50mm F1.2 wide-open, though, so it does its job.

All three cameras focus precisely, even when using off-center AF points in a way that DSLRs can’t match

The Nikon is weakest in this regard. Its Face Detection doesn’t focus specifically on eyes, so can leave focus mis-placed when working at wide apertures. Its small AF point is effective in some situations but the smaller ‘Pinpoint AF’ system is contrast-detect only, which can be too slow, both to position and to focus, so you’ll need much more patient subjects.

The Sony has the fastest flash sync speed, at 1/250th second but modern high-speed sync and the other cameras’ compatibility with their respective radio-frequency flash triggers may outweigh this small, 1/3EV advantage.

Historically Canon’s JPEG skintones have been widely admired (though the other two brands are closing this attractiveness gap). This may make no difference to you at all, though, if you have a well-honed Raw workflow.

The slightly smaller size of a Sony a7 III with something like the 85mm F1.8 might make it a touch less intimidating than the other, larger cameras, but it’s really the Eye-AF that makes the Sony stand out from the crowd for portraiture.

Sports and Wildlife

Our choice: Sony a7 III

None of these cameras is primarily intended as a sports or wildlife camera but it’s fair to consider how well they can dabble at it.

Sony’s subject tracking system is the best polished and most reliable of the three. The Canon also does well, albeit at a much slower frame rate, while the Nikon Z6 wrestles with an awkward interface and somewhat unreliable subject recognition. In more simple modes, trying to manually keep an AF point over your subject, the performance is more similar, and all three do a reasonable job of refreshing the viewfinder to let you follow action.

The Sony and Nikon both do a good job of balancing shooting speed and buffer depth, despite the Sony depending on the generally slower SD format. The Canon shoots away quite happily but at around half the speed of the other two.

Unsurprisingly, the Sony has the best native telephoto options, with the 100-400mm GM being especially good. The other two cameras do a decent job driving their respective DSLR tele lenses, though.

Overall, we see the Sony as the most reliable performer for sports and wildlife, with the other two falling behind, either in AF reliability or shooting speed.

Wedding and Events

Our choice: Sony a7 III

The price tags and feature sets of these cameras make clear that they’re not the dedicated pro cameras in their lineup, but cameras such as the Nikon D750 have raised expectations of what should be possible for the price. As such it’s fair to assess how well these will behave as second cameras for a professional wedding shooter or as the primary camera for someone shooting weddings as a side-line.

The once-in-a-lifetime nature of weddings is one of the few strong arguments for worrying about the number of card slots a camera has. Whether it’s for separate stills/video capture or the peace-of-mind that redundant backups bring, weddings are one of the areas where the Sony’s twin card slots give it an edge.

The once-in-a-lifetime nature of weddings is one of the few arguments for worrying about the number of card slots

Battery life again plays a big role when shooting weddings and events because, while it only takes a second or two to swap batteries, the need to charge-up spares just ends up adding another pre-event task and another thing to go wrong. The Sony can be expected to offer around twice the battery life of the Nikon and nearly three times that of the Canon.

The Sony’s AF performance, whether in terms of Eye-AF, subject tracking or low light performance, is the most flexible and dependable of the three. The EOS R continues to work in very low light, which is a major asset for this kind of work, making the EOS R and 50mm F1.2 a tempting option, though probably as a second camera.

Sony’s native lens lineup includes more of the classic workhorse lenses than the new RF or Z systems. That said, both the Canon and Nikon are compatible with DSLR-mount versions of these lenses, if you already have them (we wouldn’t generally recommend buying DSLR lenses specifically to adapt to a new system).

The Canon and Nikon are compatible with their respective brands’ RF and IR flash trigger systems, if you own or are renting strobes. That said, none of the three cameras will fire the focus assist lamp on these flashes, which can be a drawback.

Again, Canon’s much-liked JPEG color may play a role in your decision, depending on how much Raw processing your workflow usually entails.

Of the three, we’d feel most comfortable shooting a wedding with the Sony.

Video

Our choice: Nikon Z6

All three cameras promise 4K video, but that’s about where the similarities end. The Canon is clearly the weakest of the three in that it derives its video from a 1.83x cropped region of its sensor and does so with significant rolling shutter.

Both the Sony and Nikon use the full 16:9 region of their sensors, giving detailed, significantly oversampled video. Both have features such as focus peaking and zebra warnings, to help monitor focus and exposure, though the Nikon can’t do both simultaneously. Both cameras are similarly good at video AF.

The Sony and Canon can shoot Log footage internally but only do so in 8-bit, which can limit the files’ flexibility. The Nikon and Canon, meanwhile, will both output 10-bit Log footage to an external recorder over HDMI, giving an advantage in exactly the situations you might need to shoot Log.

The Nikon is the easiest of the trio for switching back and forth between stills and video

The Nikon pulls ahead by retaining separate exposure settings for stills and video. It also gives you the option to use different white balance and color settings. Furthermore, it allows you to define a different i-menu for video and stills shooting. And, in common with the Sony, it lets you define different custom buttons for stills and video. All this makes the Nikon the easiest of the trio for switching back and forth between the two shooting methods.

Ironically, the Canon comes closer to the Nikon in terms of ease of stills/video switching, again maintaining distinct exposure settings and buttons settings, though not distinct white balance settings. Unfortunately, in a camera without in-body stabilization to keep your horizons straight, that offers disappointing resolution, significant rolling shutter and the image quality of a sub-APS-C sensor. Still, it’s a positive sign for whatever comes next.

Of course, if you really find yourself getting into video, Sony’s E-mount is the only one of these three that currently has pro-grade video lenses and cameras available.

Landscape

Our choice: Nikon Z6 or Sony a7 III

Resolution and dynamic range are the critical image quality factors for landscape shooting. The Canon has the edge in resolution, while Sony (in uncompressed Raw mode, at least) wins out in terms of dynamic range. The Nikon is a fraction behind the Sony in this respect, as slight banding can be revealed from the deep shadows if you try to use its full dynamic range.

Close inspection makes the Nikon appear to have the most substantial weather sealing, but the Canon and Sony also make the same claims. The Sony is the only one that can be powered over USB while being used, somewhat ironically since it’s the one that lasts longest on its own battery. All three cameras can be charged over USB.

We’ve also found the Nikon the easiest of the three to operate while wearing gloves

The Nikon has a pretty sophisticated intervalometer and time-lapse move mode, which the other two lack. We’ve also found the Nikon the easiest of the three to operate while wearing gloves, with the Sony a little behind. The Canon and Sony don’t offer any internal interval shooting controls, which is a particular shame on the a7 III, since it can run from an external USB power source and its predecessor let you install a time-lapse function.

The Canon is alone in needing stabilized lenses if you don’t have a tripod, since the other two have in-body stabilization.

Travel

Our choice: Sony a7 III (but they’re all pretty good)

Travel is perhaps the most difficult use-case for any of these cameras, since it could require a little of everything. On top of the capabilities already discussed, all three have pretty good Wi-Fi systems for sharing your images with the people back home.

Some of the strongest lenses in all three systems are the 24-something F4 zooms, with the Canon and Sony examples extending out to a more versatile 105mm focal length. Nikon’s 24-70mm is smaller as a result of its shorter reach, though. Sony’s willingness to share its mount details means Tamron’s 28-75mm F2.8 should also be considered. All three cameras with these do-everything lenses make pleasant (if somewhat large) travel companions, though.

Some of the strongest lenses in all three systems are the 24-something F4 zooms, ideal for travel photography

Nikon’s weather sealing might be more reassuring when you’re out-and-about but its reliance on XQD cards might leave you in a tricky spot if you lose or fill your card on a long trip.

The Sony would probably be our favored travel camera, though. It’s the smallest of the three bodies and for now, at least, has a wider choice of small lenses. It’s got the most capable (though probably most complex) autofocus system, for shooting whatever you encounter. But, most significantly, it offers by far the best battery life.

Conclusion

Even without thinking about lenses, it’s clear that Nikon and Canon still have some work to do to catch up with Sony’s half-decade headstart. It’s not an insurmountable difference, though and both brands have brought their extensive experience of ergonomics and user interfaces, which Sony should probably be worried about.

The camera body you choose now is likely to commit you to a new lens system for the foreseeable future

All three cameras can produce excellent images but the Sony more readily adapts to a wider range of situations. The Nikon acquits itself well for certain types of photography, while also doing unexpectedly well at video, but the Z6 has the least dependable AF system of the trio, which counts against it. Canon has tried to make an easy-to-use camera, rather than simply mimicking its DSLRs, but, while we’re not fully convinced by the results of this first attempt, it’s still a very able camera.

Ultimately, though, the decision is likely to come down to what lenses you own, which lenses you plan to buy and how much faith you have in each company to produce camera bodies to match your needs, several years down the road. Because, if you’re trying to avoid major costs later, the camera body you choose now is likely to commit you to a new lens system for the foreseeable future.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Nigel Danson on his switch to mirrorless and the Nikon Z7

16 Dec

Renowned UK-based landscape photographer Nigel Danson has been using DSLRs for years. In this video, created exclusively for DPReview, Nigel discusses his experience using the Nikon Z7 and why he’s excited about mirrorless cameras. (Spoiler… beautiful scenery ahead.)

If you enjoy this video, visit Nigel’s YouTube channel where you’ll find dozens more, including topics such as Master your telephoto lens photography and improve fast and Why you don’t need perfect light to shoot the best photo.

Visit Nigel Danson’s YouTube channel

  • Opening
  • Introduction
  • Size and Weight
  • Electronic Viewfinder
  • In-Body Image Stabilization
  • Video
  • Ergonomics
  • Stopping for a Quick Shot
  • Sensor and Image Quality
  • Opportunities for Improvement
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Nikon Z6 review

15 Dec

Tune in this week to see Chris and Jordan’s review of the Nikon Z6 full frame mirrorless camera, and also find out what Chris thinks of the popular 35mm focal length. (Rant alert!)

For more information you can read our in-depth First Impressions Review of the Nikon Z6.

Nikon Z6 First Impressions Review

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  • Introduction
  • Handling and Stability
  • AF Points and Selection
  • Image Quality
  • Memory Card
  • Buffer and Burst
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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Kipon adds Nikon Z and Canon R mounts to medium format lens adapter range

14 Dec

Chinese optics manufacturer Kipon has added the Nikon Z and Canon R mounts to its range of medium format to full frame camera adapters. The company claims the adapters ‘virtually eliminate any crop factor’ by way of optics within the adapter that compensate for the difference in imaging areas of the full frame and medium format systems, and says the diagonal angle of view is maintained.

The eight Baveyes focal reducers use a five-element design and work with a number of popular medium format brands, namely Pentax, Mamiya and Hasselblad.

These adapters already exist for Sony full frame, Leica M and Leica SL cameras.
The new adapters will cost $ 695 and can be ordered from this week.
For more information see the Kipon website.

Press information

KIPON start to deliver 8 models new Baveyes/focal reducer for new Nikon Z mount & Canon R mount cameras

KIPON start to deliver 8 models new 0.7x Baveyes/focal reducer for new Nikon Z mount & Canon R mount cameras, increased Baveyes lineup for using medium format lenses on full frame cameras from 24 to 32 models.

  • Baveyes Pentax645-Nikon Z 0.7x
  • Baveyes Pentax67-Nikon Z 0.7x
  • Baveyes MAMIYA645-Nikon Z 0.7x
  • Baveyes Hasselblad V-Nikon Z 0.7x
  • Baveyes Hasselblad V-EOS R 0.7
  • Baveyes MAMIYA645-EOS R 0.7x
  • Baveyes Pentax67-EOS R 0.7x
  • Baveyes Pentax645-EOS R 0.7x

KIPON Baveyes introduces a line-up of the world’s first lens adapters that bring the famous medium format optics to Sony E, Leica SL and Leica M, Nikon Z, Canon R 35mm full frame cameras, virtually eliminating any crop factor image loss and maintaining diagonal angle of view.

The transformation results in a 0.7x factor to the original lens focal length with a gain of one stop in lens speed. Foremost in the advanced adapters, is the custom designed five element multicoated formula by German optics research institution, with the ability to use full frame SLR lenses on crop sensor camera bodies and mirrorless cameras.

Many medium format lenses are legendary for contrast, flare resistance, color saturation, bokeh and are in a class of their own compared to even the best 35mm format glass. And the Sony, Leica, Nikon, Canon image sensors, in the heart of their robust camera bodies, give new life to these medium format legendary lenses.

The retailer price for these optic focal reducer is 695USD,can order from Amazon Japan and Tmall China and Ebay factory shop from this week.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Camera Raw update brings support for latest mobile devices, Nikon Z6 and more

12 Dec

Adobe has released the December update for its Camera Raw plug-in that allows you to edit and import Raw image files in Adobe applications, such as Photoshop, Lightroom Classic CC, Lightroom CC, Photoshop Elements, After Effects, and Bridge.

The list of newly supported cameras is heavily populated with smartphones and mobile devices. Apple latest iPhones XS, XS Max and XR are on the list as well as the company’s 2018 iPad Pro models. In addition you’ll now also be able to use Camera Raw with Raw files from Google’s Pixel 3 models, the Huawei P9 Lite, LG G7 ThinQ and the Samsung models Galaxy Note 9 and Galaxy S6/S6 Edge.

Camera models include Nikon’s Z6 mirrorless camera and D3500 DSLR as well the Leica M10-D and P, in addition to a bunch of compact cameras. For a full list of supported cameras head to the Adobe Support Website.

If you have an older version of an Adobe application that is not compatible with the latest version of Camera Raw you can still get Raw support for your camera through the free Adobe DNG converter.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Museum exhibition showcases 60 rare prototype interchangeable lenses

12 Dec
A Reflex-Nikkor 1000mm f/11 prototype is mounted on the Nikon Z 7 via the Mount Adapter FTZ

Nikon Museum is showcasing prototype interchangeable lenses from the 1950s to the 1980s in a special exhibition called “Prototype Lenses — Fascinating Images Captured by the Nikon Z 7 Mirrorless Camera.” The exhibition opened on October 2 and includes around 60 prototype lenses created for SLR cameras, as well as images captured with 10 of the lenses and the Nikon Z7 camera.

These prototype lenses were created to test and verify new lens designs, according to Nikon, and many were destroyed once testing was completed. For that reason, “there have been few opportunities to exhibit them to the general public,” Nikon explains on its website, calling this a “very rare exhibition.”

According to Japanese website DC Watch, showcased lenses include the unreleased Nikkor-Q Auto 5cm F2.5, 1967 Fisheye-Nikkor Auto 6.3mm F2.8, 1961 Nikkor-S Auto 5cm F1.4 and 1958 Auto Nikkor Telephoto Zoom 85-250mm F4 lenses, among others. Some featured prototype lenses never entered mass production.

The exhibition will run through December 27th, 2018 at the Nikon Museum in Shinagawa, Tokyo. The Nikon Museum is also able to be toured via Google Street View, but this particular image is not the one shown in the particular image set Google uses.

Articles: Digital Photography Review (dpreview.com)

 
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