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Nikon introduces ultra-fast AF-S 105mm F1.4E ED prime lens

27 Jul

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Nikon has unveiled the AF-S Nikkor 105mm F1.4E ED, the fastest full-frame lens of its kind with autofocus. Resistant to dust and moisture, the lens uses 14 elements in 9 groups, including 3 ED elements, along with Nano Crystal and fluorine coatings. The lens has 9 rounded aperture blades, and the aperture is electronically controlled, which keeps exposure consistent while shooting high-speed bursts. As you might expect, this is a heavy lens, weighing in at 985g/2.1lbs.

The 105mm F1.4 is expected to ship in late August with a $ 2,199.95 MSRP.

Press release:

GLAMOROUS GLASS: NIKON CELEBRATES 100 MILLION NIKKOR MILESTONE AND THE INTRODUCTION OF THE AF-S NIKKOR 105mm f/1.4E ED LENS

MELVILLE, N.Y. (July 27, 2016 AT 12:01 A.M. EDT) – Today, Nikon Inc. is celebrating a momentous NIKKOR production milestone as well as the announcement of the AF-S NIKKOR 105mm f/1.4E ED, a premium lens for the most discerning photographers. This luxurious new medium-telephoto lens is engineered to help create flattering images with gorgeous bokeh, while delivering impressive sharpness and beautiful color rendition. As a testament to a lasting legacy of high-caliber lenses, Nikon has also announced that NIKKOR lens production has reached the landmark achievement of 100 million units produced worldwide.

“Surpassing the 100 million lenses produced milestone is a great honor and a testament to the photographers who both love and rely on NIKKOR glass to get the job done,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “The AF-S NIKKOR 105mm f/1.4E ED represents the embodiment of the NIKKOR line of high-quality lenses, giving photographers a robust, well-balanced lens that provides intense sharpness, astounding image quality and background bokeh that is sure to be a favorite among portrait photographers.”

Captivating Image Quality
The AF-S NIKKOR 105mm f/1.4E ED is a fast, full-frame (FX-format), medium-telephoto prime lens and is the world’s first1 to strike the impeccable balance of 105mm focal length and large f/1.4 aperture for a truly outstanding optic. This new NIKKOR lens is ideal for professional and advanced enthusiast photographers, especially those capturing portraiture, from in-studio fashion to a golden hour engagement session on the beach. These users will love the precise sharpness from this fantastic glass, which provides a flattering compression to subjects with a sensational, sultry bokeh. Beyond the gorgeous image quality lies stellar resolving power, especially when used with Nikon DSLRs such as D5, D810 or D750.

The 105mm f/1.4E is a fast lens with endearing character, providing stellar optical performance, even in the peripherals. Sharp rendering is attained for shooting distant subjects throughout the aperture range – from maximum aperture to being stopped down by several stops. Gradual alteration from the focal plane helps render subjects in high-fidelity with a natural depth, giving colorful portraits and landscapes that little bit of extra “pop” to help create a truly distinct image. The AF-S NIKKOR 105mm f/1.4 is also an excellent choice for low-light photography, as its large maximum aperture allows photographers to shoot at the fastest possible shutter speeds. Additionally, this lens can reproduce point light sources faithfully without sagittal coma flare, even on the edges of the frame.

Masterful Lens Construction
Decades of precision, knowledge and experience are put forth into every NIKKOR lens, and the AF-S NIKKOR 105mm f/1.4E ED is an exceptional example of brilliant craftsmanship and Nikon technologies merging. Packed with the latest advanced optical innovations, the 105mm f/1.4 features Nikon’s electromagnetic aperture control technology for consistent exposures, even during high speed continuous shooting.2

On the outside, solid build quality is well-balanced for all-day shooting, while the lens is sealed and gasketed to resist dust and moisture. Additional Fluorine coatings are used on the front and rear elements, so that smudges, dirt or moisture are easily removed. Inside the lens, the optical formula consists of 14 elements in nine groups, which include three ED glass elements. A 9-blade diaphragm further helps to create a circular, pleasing out of focus area. The lens also features Nikon’s Nano Crystal Coat technology to significantly reduce instances of ghosting and flare.

The new AF-S NIKKOR 105mm f/1.4E ED joins other NIKKOR f/1.4 lenses in the Gold Ring Series, which include only premium primes with Nano Crystal Coat and pro-grade build quality. These other lenses include the AF-S NIKKOR 24mm f/1.4G, AF-S NIKKOR 35mm f/1.4G, AF-S NIKKOR 58mm f/1.4G, AF-S NIKKOR 85mm f/1.4G.

A Landmark in the NIKKOR Legacy
Nikon is also pleased to announce that the total production of NIKKOR lenses for Nikon interchangeable lens cameras reached the landmark 100 million milestone in mid-July 2016.

With a robust line-up of high-quality lenses for all types of photographers, the NIKKOR name has become synonymous with a rich history of superior lenses. Nikon continues to introduce new NIKKOR lenses that further optical technology, utilizing cutting-edge techniques and knowledge from experience cultivated over its long history. Such revolutionary advancements include Nano Crystal Coat, which acts as a powerful anti-reflection coating, and significantly reduces instances of ghosting and flare. More recently, NIKKOR lens technologies such as the use of Phase Fresnel (PF) and Fluorite elements have helped to create smaller and lighter lenses with superb balance and handling. Many NIKKOR lenses now also feature a Fluorine coat that helps repel a variety of contaminants such as dust, dirt, water, oils and grease. The introduction of an electromagnetic diaphragm has also helped to create lenses that provide consistently crisp exposures, even during high-speed shooting.

Pricing and Availability
The AF-S NIKKOR 105MM f/1.4E ED will be available in late August for a suggested retail price (SRP) of $ 2,199.953. For more information on Nikon’s latest products including their newest NIKKOR lenses, please visit www.nikonusa.com.

1: Among AF lenses for digital SLRs compatible with FX-format image sensor; as of July 27, 2016; statement based on Nikon research

2: The lens incorporates an electromagnetic diaphragm mechanism. The following cameras are compatible with this lens: D5, D4 series, D3 series, Df, D810, D810A, D800 series, D750, D700, D610, D600, D500, D300 series, D7200, D7100, D7000, D5500, D5300, D5200, D5100, D5000, D3300, D3200, D3100, Nikon 1 J1, J2, J3, J4 with FT-1, Nikon 1 V1, V2, V3 with FT-1, Nikon 1 S1, S2 with FT-1 

3: SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon AF-S Nikkor 105mm F1.4E ED specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 105 mm
Image stabilization No
Lens mount Nikon F (FX)
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Aperture notes Rounded blades
Optics
Elements 14
Groups 9
Special elements / coatings Three ED elements + Nano Crystal and fluorine coatings
Focus
Minimum focus 1.00 m (39.37″)
Maximum magnification 0.13×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Focus distance limiter No
Physical
Weight 985 g (2.17 lb)
Diameter 95 mm (3.72″)
Length 106 mm (4.17″)
Sealing Yes
Filter thread 82.0 mm
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D500 versus D750: Which one is right for you?

25 Jul

Nikon D500 versus D750: Which one is right for you?

The Nikon D500 and D750 scored 91% and 90% respectively when we reviewed them. They both received gold awards. They’re about the same size, pretty much the same weight and currently, they both cost about the same amount of money, too. So if you’re a Nikon shooter looking to upgrade your camera, which one is right for you?

Join us, as we take a look at the main differences between the D500 and D750.

Sensor size

The largest difference – no pun intended – between the Nikon D750 and the D500 is in terms of sensor size. There’s a small disparity in resolution (the D750 offers 24MP whereas the D500 lags a little, at 21MP) but more significant is the fact that the D750’s sensor is full-frame. The D500, by contrast, is built around a smaller, DX format (APS-C) sensor, which introduces a 1.5X crop factor, meaning that a 50mm lens on the D500 offers a field of view equivalent to a 75mm lens on the D750.

Leaving aside the effect of the crop factor, typically, we’d expect full-frame sensors to offer better image quality in poor light, at high ISO sensitivity settings, and broader dynamic range, compared to APS-C and smaller sensors. The D500’s sensor is very good, but physics is physics, and at any given ISO sensitivity, the D750′ noise performance is about one stop better than the D500.

In terms of dynamic range, the D750 offers around 0.8EV more dynamic range at base ISO than the D500, which might not seem like a lot, but it’s enough to make a difference in some shooting scenarios (like the scene above, which was exposed in Raw mode for highlights, with shadows and mid-tones brightened in post). On the flip side, the D500 provides an electronic first curtain shutter option, which allows landscape photographers to ensure vibration-free images – something that can be a challenge with the D750. 

Verdict: Both cameras offer excellent image quality, but if you need the extra dynamic range, the D750 is the best choice.

Crop factor

We’ve already mentioned the crop factor inherent to shooting with the DX-format D500, but there are other consequences of the smaller sensor. For one thing, it’s slightly harder to achieve shallow depth of field with APS-C sensors compared to full frame (you would need a 16mm F1.2 lens to achieve the same DoF as Rishi’s 24mm F1.8 FF shot above).

This is because an F1.4 lens on APS-C is equivalent in DoF terms to an F2.1 lens on full-frame (and so on – F2.8 becomes equivalent to F4.2, F4 becomes equivalent to F6…). This might not matter much in everyday shooting, but if you’re a fan of very shallow depth of field portraiture, the effect is both easier and cheaper to achieve on full-frame, if you consider the typical price (and size) difference between F1.4 primes and F1.8 equivalents. 

This is the reason why lens manufacturer Sigma introduced its 18-35mm and 50-100mm F1.8 zoom lenses – they’re intended to provide a fast maximum aperture for APS-C users equivalent to the unofficial professional standard F2.8 on full-frame. 

There is a plus side to shooting on a DX-format camera though – the 1.5X increase in effective focal length is very handy for telephoto shooting. 

Verdict: If you need shallow DoF, go for the D750, if you want extra reach, the D500 is a better choice.

Lens choice (part 2)

Still on the topic of lenses, another thing to consider when weighing the D500 against the D750 is the fact that lenses designed specifically for the smaller APS-C format of the D500 won’t work very well on full-frame. Nikon’s DX and FX lens ranges are technically cross-compatible with all FX and DX format Nikon DSLRs, but most DX lenses vignette heavily on full-frame, greatly reducing the usable image area.

Also bear in mind that Nikon has a considerably better developed range of FX lenses than DX, and we strongly suspect that this won’t change any time soon. As such, given that FX lenses can be used without any technical limitations on DX, if you’re inclined towards the D500, you might still be better off investing in FX lenses – especially if you think you might move up to full-frame in future. The downside is that you might start off with some weird equivalent focal lengths (i.e., a 24-70mm will behave like a 36-105mm).

Verdict: We’re calling this one a draw.

Speed

When it comes to speed, the D500 is a clear winner. In many respects a scaled-down D5, the D500 is significantly faster than the D750 and much better equipped to cope with the demands of action photography. A maximum frame rate of 10fps and seemingly infinite buffer (200 Raws) leaves the D750 in the dust.

It’s not just about frame rate though. The D500 (pictured above) can also accept faster XQD memory cards, capable of data transfer rates up to 8 Gbit/s.

 A USB 3.0 interface and 1/8000sec maximum shutter speed (compared to USB 2.0 and 1/4000 respectively) cement the D500’s action-shooting credentials.

Verdict: D500 wins, by a mile.

Autofocus

It’s a similar story with autofocus. While the D750’s 51-point AF system is extremely capable, and more than a match for pretty much any competitor in the sub-pro full-frame market segment (including the D810), the D500’s AF system is in a different league.

The D500’s AF system features 153 AF points, of which 99 are cross-type. Of this total of 153, 55 points can be manually selected, and the center point is sensitive down to -4EV. The D500’s smaller sensor actually benefits its AF system, because it means that frame coverage is much broader than the D750 (and any other Nikon full-frame DSLR).

Combine an AF array that covers almost the entire imaging area with a huge degree of AF customization and 3D AF tracking (the D500’s 180,000-pixel RGB metering sensor significantly boosts the performance of an already market-leading system) and you get an autofocus powerhouse.

Verdit: D500 wins.

Video

On paper, the D500 roundly beats the D750 in terms of video specification, thanks to the addition of 4K video – a feature that Nikon only offers on two DSLRs (the other being the flagship D5). But as good as the D500’s 4K output is, using this mode does come with one big limitation.

In 4K video mode, the D500’s crop factor increases from 1.5X to 2.25X. This is pretty limiting when shooting anything that requires a wide field of view, purely from the standpoint of finding a wide enough lens. Even Nikon’s super-wide 10-24mm DX format zoom becomes an pretty standard 23-55mm equiv. (with a maximum aperture equivalent to F8-10 in depth of field terms). In HD video mode, there’s not much to separate the two cameras. The D500 and D750 offer an extremely similar specification and deliver similar-looking video footage. The addition of a touchscreen on the D500 makes AF point positioning easier, but that’s about it (and bear in mind that AF in video mode is pretty poor on both cameras, so you might find that you don’t make use of this function much anyway), 

Verdict: If you need 4K, go for the D500 – just make sure you have a wide enough lens.

Flash

Nikon is pitching the D500 as a ‘professional’ DSLR, despite its sub full-frame sensor. As such, like the flagship D5, it lacks a built-in flash. This cuts down on weight, and also means a theoretically increased resistance to dust and water incursion. The downside is – well, there’s no built-in flash.

We actually really like the small built-in flashes on cameras like the D750 and D810, not because they’re particularly useful as flashes, but because they can be used to wirelessly trigger groups of Speedlites off-camera. That’s conventional optical triggering, but unlike the D500, the D750 is not compatible with Nikon’s WR-A10 wireless controller ($ 200), which allows off-camera flashes to be radio triggered (important when line-of-sight won’t cut it).

Verdict: D750’s built-in flash offers greater versatility (unless you need radio control), at the expense of reduced environmental sealing.

Ergonomics

Ergonomics and handling are pretty subjective. One person’s ideal control system might be maddeningly complex to someone else. Some people really like touchscreens, some people can’t see the point of them. Some members of the DPReview editorial team (who shall remain anonymous) actually like Olympus menu systems.

The point being – ergonomically, which of these two cameras is better depends on your personal preferences. Their basic control layout is extremely similar, but they do feel somewhat different in the hand. Despite its smaller sensor, the D500 is actually the larger, heavier (by more than 100g) of the two cameras. The D750 is surprisingly svelte for a full-frame camera, but the D500 feels like it could be used to bang in a few nails.

The D500 provides many more options for customization than the D750, available via a dedicated custom settings GUI. This makes it more versatile for a professional moving between different shooting scenarios.

It also offers a couple of other pretty major features that the D750 doesn’t: a touchscreen, and backlit controls. We’ve found the D500’s touchscreen invaluable for things like AF point positioning in live view (especially from awkward low angles) and backlit controls are a huge benefit if you do a lot of shooting at night. 

Verdict: D500 offers more. A touchscreen, more customization and backlit buttons.

Nikon D500 versus D750: Which one is right for you?

So if you’ve got a couple of thousand dollars burning a hole in your pocket, which camera should you buy? 

The Nikon D750 (above) is one of our favorite DSLRs – ever. Its combination of refined handling, a highly capable autofocus system, a surprisingly small and light body and excellent image quality make it fantastic camera for everyday use. The D750 is one of those cameras that we consistently recommend to friends and family, and for most Nikon photographers, there are very few reasons to spend more on the D810.

But then along came the D500. It’s an APS-C format camera, but not only is it more ‘pro’ than any previous DX format DSLR from Nikon, but it outperforms most of the company’s full-frame DSLRs, too. The D500 is designed for heavy professional use, with an emphasis on speed and reliability. As we’d expect from a camera that shares so much with the flagship D5, the D500 is a real workhorse, and in many respects (shooting speed, autofocus, video spec, to name just the obvious things) it outmatches the D750, sometimes very significantly.

The D500 also offers 4K video, of course, but unless you really need it, we wouldn’t recommend deciding between these cameras purely on the basis of this feature. The aggressive 2.25X crop in 4K mode is pretty limiting, apart from anything else. 

Final verdict

At the end of the day, if it were our money, we’d probably recommend the D500 over the D750. For a photographer interested in capturing sports or fast-moving action it’s a no-brainer. The sheer speed and focus of the camera, combined with the telephoto-boosting 1.5X crop factor make it a superb tool for this kind of photography. And of course, if you can live with some awkward effective focal lengths, the D500 is fully compatible with all of Nikon’s current lenses. 

If you’re not a keen sports photographer, you don’t need 4K video, and you don’t mind not having quite the latest and greatest AF system – go for the D750. You won’t be disappointed.

  • Read our full Nikon D500 review
  • Read our full Nikon D750 review

Want to compare more cameras? Click here

Did we miss anything? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D500 firmware update adds workaround for SD card errors

13 Jul

Nikon has released a firmware update for the D500, correcting the card error issue we discussed in our D500 review. The error — which happened once in our office and has been reported by many camera owners — manifests when some UHS-II SD cards are used (Lexar cards seem to be particularly affected). According to Nikon, these card errors are resulting from the cards themselves, not the camera.

The update takes the D500’s firmware from version 1.01 to 1.02, and only corrects the card error. Per Nikon’s changelog, the new firmware does the following:

Download Nikon D500 firmware version 1.02

Articles: Digital Photography Review (dpreview.com)

 
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Under pressure: Canon vs. Nikon in a hydraulic press

08 Jul

It’s a question photographers have been asking since time immemorial – or since the 1970s, at any rate: which is best? Canon or Nikon? The brave souls over at the Hydraulic Press Channel are committed to finding out. And they’re going to do so in the only way they know how – by using a hydraulic press. In the yellow corner: a Nikon FA. In the red corner: a Canon AE-1. 

We don’t want to ruin the outcome of this unconventional two-way test before you’ve watched the video (apart from anything else, we’re far from clear on the criteria of the contest) but we dare you to only watch it once.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma updates 150-600mm firmware to solve overexposure with Nikon D500

02 Jul

Sigma has announced new firmware for one of its super tele zooms that has a problem with exposure when used with the Nikon D500 and Sigma’s 1.4x tele convertor. Both Sports and Contemporary versions of the 150-600mm F5-6.3 DG OS HSM will need the new firmware if owners want to use the lenses with the company’s TC-1401 1.4x teleconverter on the Nikon D500. The company says it has discovered that when the three items are combined there is an issue with overexposure, and that the new firmware will fix it.

The TC-1401 can be used with the 150-600mm F5-6.3 lens because both it and the Nikon D500 can support autofocus at apertures up to F8.

Users who own the Sigma USB lens dock can update their firmware themselves, while those who don’t can receive the update free of charge from a Sigma service center.

For more information see the Sigma website.

Lens firmware Update for SIGMA 150-600mm F5-6.3 DG OS HSM |Sports / Contemporary in Nikon mount

Thank you for purchasing and using our products.

We would like to announce the availability of a new firmware update for the SIGMA 150-600mm F5-6.3 DG OS HSM | Sports in Nikon mount and the SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary in Nikon mount.

This firmware update can be installed using SIGMA Optimization Pro.

The lens firmware update corrects the phenomenon of overexposure when the lens is attached to the SIGMA TELE CONVERTER TC-1401 on Nikon Digital SLR camera “D500”, released by NIKON CORPORATION.

For customers who own the following applicable products and also SIGMA USB DOCK, please update the lens firmware using SIGMA Optimization Pro.

For customers who do not own SIGMA USB DOCK, the lens firmware update will be provided free of charge. Please contact your nearest authorized subsidiary/distributor of SIGMA.

Applicable products

  • SIGMA 150-600mm F5-6.3 DG OS HSM | Sports – Nikon mount
  • SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary – Nikon mount

Benefit of this firmware update
It has corrected the phenomenon that it shows some overexposure when it is attached with
SIGMA TELE CONVERTER TC-1401 on Nikon D500.

*For customers who are using SIGMA Optimization Pro Ver1.1 or earlier, please ensure to update it to Ver1.3 from the following Download page before updating the lens firmware.

Download page: http://www.sigma-global.com/download/

We appreciate your continued support for our company and products.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon releases new firmware for D5: Improves video and adds flicker reduction

23 Jun

Nikon has released new firmware for its flagship D5 DSLR. There are four main improvements included in firmware v1.10, which address some of the frustrations that we had with the D5 in our full review.  

Video Recording Upgrades:

  1. Movie maximum recording time extended to 29 minute 59 seconds, including for 4K UHD video
  2. Electronic VR for more stable hand-held Full-HD*1/HD video recording added

Still Photography Upgrades:

  1. Flicker reduction function for still photography added, minimizing exposure variations
  2. 9-point dynamic-area AF added, offering more selective focus on a moving subject 

Press release:

Further advance of Nikon D5 digital SLR camera performance through expanded functions

Tokyo – Nikon Corporation has released new firmware, C: Ver. 1.10, that expands the functions of its flagship Nikon FX-format digital SLR camera, the D5.

The D5 has been extremely well received on all fronts, winning such globally prestigious photo and imaging awards as the TIPA Awards 2016, and the Camera GP (Grand Prix) 2016 Readers Award (sponsored by Japan’s Camera Journal Press Club), which is selected through voting by users.

Nikon has released new firmware for the D5, C: Ver. 1.10, that enhances D5 performance even further. The new firmware offers a major upgrade to the camera’s shooting capabilities, delivering four key improvements. First, the maximum recording time of movies, including for 4K UHD movies, is extended, and three functions — Flicker reduction for still images, 9-point dynamic-area AF AF-area mode, and Electronic VR for movies — are added. In addition to these four major changes, some additional updates* have been applied to the new firmware.

  • *Details regarding “additional updates” are provided on the firmware’s free download page (Nikon Download Center).

Release overview

The new firmware is available for download from June 23, 2016. It can be downloaded free of charge from the following URL.

  • *The camera’s current firmware version can be checked using the Firmware version option in the setup menu.

Four major improvements

1. Maximum movie recording time, including for 4K UHD movies, extended to 29 min. 59 s

Movies up to 29 minutes 59 seconds in length can now be recorded at all Movie quality and Frame size/frame rate settings. The new firmware increases the maximum recording time of even 4K UHD (3840×2160) movies from 3 minutes to 29 minutes 59 seconds. In addition, movies are recorded to up to eight separate files, each of which has a file size of up to 4 GB. Separate movie files can be combined to create a single movie using ViewNX-Movie Editor.

  • •The maximum recording time for 4K UHD time-lapse movies is 3 minutes.

2. Flicker reduction for still images added for more stable exposure under lighting that flickers

When shooting under fluorescent and some other types of artificial lighting, flickering may cause uneven exposure in parts of images and/or variations in exposure and color reproduction characteristics between individual images captured continuously or in quick succession. We have equipped the new firmware with a Flicker reduction function for still images*1 that reduces these effects. When Flicker reduction is enabled, the camera detects peak brightness as light flickers and automatically times shutter release with these peaks in brightness for stable exposure and color reproduction characteristics. This function is effective when continuous shooting is used for indoor sporting events or similar situations captured at fast shutter speeds*2.

  • *1Still images captured during viewfinder photography (not available with mirror up mode).
  • *2The continuous shooting rate may decrease.

3. 9-point dynamic-area AF AF-area mode added for focusing on a limited portion of a moving subject

With dynamic-area AF, the camera focuses based on information from surrounding focus points* if the subject briefly leaves the focus point selected by the photographer. The D5 originally supported 25-point, 72-point and 153-point dynamic-area AF. A 9-point dynamic-area AF option has been added with the new firmware. This new option is effective for focusing on a more specific portion of a moving subject.

  • *In dynamic-area AF with 9, 25 or 72 points, the number of focus points actually used may be fewer than 9, 25 or 72, depending on the selected primary focus point.

4. Electronic vibration reduction function, effective with hand-held recording, added (for HD and full-HD*1 movie recording)

The new firmware has been equipped with an Electronic VR function that reduces the effects of camera shake with hand-held recording of movies in the FX- or DX-based movie formats (image areas)*2. The effects of camera shake in three directions — vertical (up and down), horizontal (left and right), and rotational (around the center of the lens) — are reduced. This function is effective when recording movies in places or situations in which use of a tripod is prohibited or inconvenient, or when there simply isn’t time to set one up. In addition, electronic VR can be used in combination with the optical vibration reduction (VR) built into a NIKKOR lens for more effective reduction of the effects of camera shake.

  • *1Not available with 1920 x 1080 crop settings.
  • *2The angle of view will be reduced slightly.
  • The effects of electronic VR are also reflected when photos are captured during movie recording (Live frame grab).
  • When Electronic VR is enabled, the maximum sensitivity allowed is ISO 102400, even if ISO sensitivity is set to Hi 0.3 or higher.

Articles: Digital Photography Review (dpreview.com)

 
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Capture One Phase One 9.2 extends support to Pentax K-1 and Nikon D500

23 Jun

Phase One has updated its Capture One Pro software. Version 9.2 brings support for two notable new DSLRs: the Pentax K-1 and Nikon D500. The update also adds support for premium compacts in Canon’s PowerShot G series as well as minor workflow enhancements. The update is offered at no cost for Capture One Pro 9 customers. Capture One Pro 7 and 8 customers can get the latest version for $ 99/€99.

Press release:

Phase One Releases Capture One Pro 9.2

Unprecedented Power, Precision and Quality

COPENHAGEN, June 23, 2016 — Phase One, creator of the world’s finest open-platform high-end camera systems and professional imaging software, today released Capture One Pro 9.2. Known for its outstanding tethered capture capability, high-quality raw conversion, and precision image editing tools, Capture One Pro is already considered by many to be the only image capture application for the serious professional photographer. The release of version 9.2 aims at a better culling workflow from selections and metadata sources to accelerate editing workflow to new levels.

New camera support includes:

  • Pentax K-1
  • Nikon D500
  • Canon EOS M10
  • Canon G5x
  • Canon G7x MkII
  • Canon G9x

Powerful new workflow features include:

— Access assets quickly and precisely: Select from file list, select by variant position and create album from selection form a large group of improvements under targeted selections;

— New rate and cull workflow using “Select Set”: Select a number of images for viewer preview, then advance through the browser by the same number. Navigating within the selection to rate and cull makes editing and comparing fast and efficient;

— Capture One 9.2’s new color management module for Tiffs gives users more accurate preview returned from retouching/round trip applications – making Tiff handling in Capture One better than ever before;

— Phase One XF camera users can turbocharge focus stacking workflow with a multi-image round trip to the Helicon Focus application. Shoot, organize, group, process and stack — all in a few clicks;

— New Shortcut Engine: More functions can be shortcut than ever before! All cursors can now be shortcut, users can navigate the library collections (even when hidden) and shortcut support for the new 9.2 selection methods all help to make the workflow sing.

“Pro photographers deserve a strong ally to vanquish workflow issues and give them the most reliable, efficient workflow and performance,” said James Johnson, Software Product manager, “Capture One Pro 9.2 is about workflow, not work!”

For more details on all the new and improved features in Capture One Pro 9.2, including new cameras and lenses supported, please go to: www.phaseone.com/ninetwo

Availability and Pricing

Capture One Pro 9 is available now for the Mac and Windows operating systems online at www.phaseone.com/store and from Phase One authorized partners worldwide. www.phaseone.com/partners.

New customers can purchase Capture One Pro 9 for 299 USD / 279 EUR. Owners of versions Capture One Pro 7 or 8 may upgrade for 99 USD / 99 EUR.

Capture One Pro is also available by subscription. Existing subscribers can simply download the new Capture One Pro 9 release, as subscriptions are good for all new and previous versions of Capture One Pro. A single-user subscription is 15 USD / 12 EUR per month for a 12-month plan. Please see all subscription options at www.phaseone.com/store

Articles: Digital Photography Review (dpreview.com)

 
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Rare Nikon 1200mm F11 pops up on eBay

23 Jun

A seller on eBay is offering up a Nikon 1200mm F11 super telephoto lens, dating back to the 1970s. A separate AU-1 focusing unit attaches to the lens and drives focus, and is included for the seller’s asking price of $ 5,750. Naturally, the lens features a revolving tripod socket, since your chances of getting sharp images while handholding it would be slim-to-none. 

If $ 5,750 is a little steep but you’re itching to add a super telephoto prime to your vintage lens collection, the seller is currently accepting offers and claims the lens is in ‘nearly mint’ condition. If you do buy it, could you send us some sample photos for fun? 

Articles: Digital Photography Review (dpreview.com)

 
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D500 owner formally accuses Nikon of false advertising

17 Jun

A disgruntled D500 owner has taken out a legal warning against Nikon advertising the camera as offering ‘integrated Wi-Fi.’ In the equivalent of a cease-and-desist order. Andreas V, from Butzbach, Germany says, that the term is misleading, given there are unusual restrictions to using the function.

In the case of the D500, you need to use a compatible Android device with Bluetooth LE and the Snapbridge app to enable Wi-Fi: a restriction that is not commonly shared by other cameras, including Nikon’s own D750 and D7200 models.

The D500 does have integrated Wi-Fi, but you can’t necessarily use it in the way you might expect.

As highlighted in our review, although the D500 does have integrated Wi-Fi, it is distinctly reluctant to make use of it, mainly relying on the low bandwidth ‘Bluetooth LE’ technology for file transfer. At present even this system is available only to users of compatible Android devices, since an iOS app will not be available until later in the year. Unlike the D7200 and D750, there’s no way to directly make use of the camera’s Wi-Fi: it can only be initiated using Bluetooth from the Snapbridge app.

Part of the customer’s complaint was that it was reasonable to assume he’d be able to use his camera in the same manner as he had his D7200, and that the labels on the box indicating compatibility with Apple devices implied the function was already available to users of such devices. He goes on to highlight that it would be possible for Nikon to offer a simpler (and more readily accessible) Wi-Fi system via a firmware update.

The story, first reported in the German magazine Digitale Fotografie, and subsequently on Nikon Rumors, has attracted mixed responses. While there have been plenty of predictable ‘he should have done his research’ comments, there have also been words of support from people who believe Nikon should have made the system’s limitations clearer (or made the Wi-Fi simpler). What do you think?

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D5: A pro sports photographer gives us his opinion

05 Jun

Nikon D5: a pro photographer’s opinion

A Bahaman athlete, shot through the flame and heat haze in the Olympics Stadium in the 4 x 100m Mens Relay – London Olympics 2012.

Nikon D4, Nikon 300mm F2.8, 1/500 sec F4 ISO 800. Photograph by Mark Pain

The Nikon D5 has impressed us with its speed and reliability, and earned a gold award when we reviewed it recently. But we don’t pretend to represent the camera’s core market of sports professionals and photojournalists. That’s why we turned to Mark Pain, a UK-based sports photographer and Nikon shooter, to get his opinion on the D5. Click through this article to learn how Mark got started, what makes a good camera for his needs, and how the D5 is measuring up.

Nikon D5: a pro photographer’s opinion

Zara Tindall (Phillips) jumps the lake At Badminton, on her horse High Kingdom.

Nikon D5, Nikon 400mm F2.8, 1/3200 sec F3.5. ISO 320. Shot using AF-C in D25 area AF mode. Photograph by Mark Pain

Mark Pain:

The first thing you notice when you use a D5 is the blisteringly fast and accurate autofocus. Many cameras feel quick and responsive the first time you pick them up, but very few continue to fill you with more and more confidence every time you use them. But the D5 does just that. It takes everything the D4s did well and improves on it. But most importantly Nikon seemed to have listened to photographers’ feedback on what wasn’t so good about the D4s and transformed those areas of performance with a total redesign.

The new AF system is nothing short of sensational. If you set the camera up properly the D5 doesn’t miss a beat. User error is far more likely to be the reason for a missed shot than the camera letting you down, even for the best of photographers.

Nikon D5: a pro photographer’s opinion

David Weir celebrates winning his third gold medal in the 1500m – London Paralympics 2012.

Nikon D4, Nikon 300mm F2.8, 1/1250 sec at F2.8. ISO 2000. Photograph by Mark Pain

I’ve been shooting sport professionally for over 25 years now, since I was 22. But I got the bug for photography and especially for photographing movement just after I was given my first SLR for my 13th birthday. I loved my fully manual Fujica STX-1 when I was asked to shoot some pictures of my school Sportsday for the school magazine, I was hooked.

The Fujica STX-1 was a superb camera for a young photographer to learn with, fully Manual and extremely well built. It made me concentrate on and master all the fundamentals of photography, fundamentals that remain the backbone of my photography today.

Nikon D5: a pro photographer’s opinion

Mark’s kit-bag. Nikon D5, Nikon D4s, Nikon 70-200mm F2.8, Nikon 24-70mm F2.8, Nikon 14-24mm F2.8, Nikon TC14 1.4x converter MkIII, Nikon 16mm F2.8, Nikon SB-800 Flashgun inside a Think Tank Airport International rolling case.

There have been two huge developments in photography since I started out; the coming of autofocus and the move from film to digital. As a professional there have been times when these changes have caused major headaches. AF systems take time to get right and professional sports photographers tend to be on the receiving end of their failings or quirks. Often the technical ability of the cameras in the field (even the top end Pro SLRs/DSLRs ) has lagged behind what the manufacturers claim to have achieved on paper. Especially when it comes to autofocus.

Nikon D5: a pro photographer’s opinion

The British Mens Team Pursuit team on their way to breaking the world record at the Beijing Olympics 2008.

Nikon D3, Nikon 70-200mm F2.8, 1/15th sec at F8, ISO 200. Photograph by Mark Pain

A camera’s success is dependent on three crucial aspects of its design and spec coming together in harmony; sensor performance, the processor used in the camera and the firmware. For me, the first digital camera that married all these important factors together was the Nikon D3. The D3 changed my world and I switched from Canon to Nikon in the January of 2008 because of it, and I took the D3 to the Beijing Olympics later that year. To my mind the D3 was the best balanced professional sports camera. Until the D5.

Nikon D5: a pro photographer’s opinion

Zara Tindall (Phillips) jumps the lake At Badminton, on her horse High Kingdom.

Nikon D5, Nikon 400mm F2.8, 1/3200 sec F3.5. ISO 320. Shot using AF-C in D25 area AF mode. Photograph by Mark Pain

The D5 seems to have that same balance, ease of performance and feeling of class that the D3 had. It’s the camera the D4 and D4s so nearly were. Of course it’s early days and I’ve only been shooting with it for a month or so. A camera’s abilities can only be fairly judged over a much longer period of time in a far wider variety of conditions than I have used the D5 in so far. How the camera performs at a rain soaked night match at a dark non-league football ground in the early rounds of FA Cup at 8000 ISO is just as important as how it performs at 200 ISO in bright sunshine at the Final at Wembley.

But the Olympics is the ultimate test of any camera claiming to have a sports pedigree and I’m seriously excited to be heading to Rio in a couple of months time with a couple of D5s at my side. The huge variety of sports both indoors and outdoors and the technical challenges they present will push the camera to its limits.

Nikon D5: a pro photographer’s opinion

Jesse Lingard celebrating his winning goal in the FA Cup Final.

Nikon D5, Nikon 70-200mm F2.8, 1/2000th sec at F2.8, ISO 2000, Shot using AF-C in D25 area AF mode. Photograph by Mark Pain

The sequence of 28 consecutive Raw frames I recently took of Manchester United’s Jesse Lingard celebrating his winning goal at the FA Cup Final confirmed the true AF performance of the D5. Every frame was sharp and in focus. Every frame. Camera manufacturers show sequences of sprinters running towards the camera in their brochures to try and sell the AF tracking performance of their new equipment. But that kind of movement has been easy for cameras to track for a long time.

Nikon D5: a pro photographer’s opinion

The next day’s papers!

In the real world of top professional and dynamic team sport with lots of random movement, AF systems inherently struggle. But the D5 has proved to be extremely capable and with a Nikon 70-200mm F2.8 the Lingard celebration was technically faultless.

Nikon D5: a pro photographer’s opinion

Saracens v Harlequins at Wembley Stadium in the Aviva Premiership Championship.

Nikon D5, Nikon 400mm F2.8, 1/2000 sec F2.8 ISO 1100. Shot using AF-C in D25 area AF mode. Photograph by Mark Pain

Even at ISO 2000 the files look sharp with a complete lack of noise or signs of in camera over-processing. Now that the D5 has 20.8 megapixels a shutter speed of at least 1/2000th is needed to freeze most fast moving sport. What many people don’t realise is that the more megapixels you have the faster shutter speeds necessary to freeze the same action. In real camera terms, six years ago I would have been shooting the whole of this year’s FA Cup Final on a D3s on a shutter speed of 1/800th sec. This year I was shooting the match at 1/2000th sec on a D5 – to freeze the very same type of images.

Mark Pain is a multi-award winning UK-based sports photographer who covers major events worldwide from the Olympic Games to the Ryder Cup. Mark was the Chief Sports Photographer for The Mail On Sunday for more than 20 years, and was named Sports Photographer of the Year in 2005 and 2011 at the British Press Awards. Mark launched the first ever Sports Photography School in 2011, and was named the British Airways Olympic Photographer Of The Year 2012 at the prestigious UK Guild Of Picture Editors Awards.

Check out more of Mark’s work

Articles: Digital Photography Review (dpreview.com)

 
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