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Review: Nikon D7500 with 18-140mm Kit Lens

20 Sep

The 7000 series of cameras from Nikon have been very popular since they were first introduced in 2010. It is a mid-range camera in their lineup but sits at the top end of the amateur level cameras. As with many of these cameras the new one in this series, the Nikon D7500 can also be purchased with a kit lens, this one came with the 18-140mm lens.

Review: Nikon D7500 with 18-140mm Kit Lens

The Nikon D7500 with the 18-140mm kit lens. Image courtesy Nikon Australia.

The new D7500 is in the DX format or crop sensor camera. It has a 20.9 megapixel CMOS sensor and is said to be “equipped with a high-performance EXPEED 5 image-processing engine.” Nikon also claims that it is a good camera for video and that it supports 4K UHD. For more technical information please go to the Nikon website.

Nikon D7500 out of the box

When you first get the camera out you’ll notice it’s surprisingly light. I use a D800, so most cameras are light compared to that. However, the D7500 is a good size and feels nice in the hands. There is some weight to it, but it’s comfortable. When you have the camera, with the kit lens attached, hanging around your neck the weight doesn’t hurt you.

They have made the grip deeper so it is easier to hold onto, and also more comfortable to hold. With some models, it feels like you are digging your nails into the camera, but that hasn’t happened with this one.

Holding the Nikon D7500. Image courtesy Nikon Australia.

Easy to use

When it comes down to it, what you really want from a camera is one that is easy to understand and use. There is no doubt that you will find both of those with the Nikon D7500. In previous models you had to go into the menu to change some settings, a lot of them are now buttons on the camera. ISO is changed with one up near the shutter button. You can change aperture with the scroll wheel at the front and the shutter with the one at the back. It is easy for your fingers to find everything you need.

ISO

It has a high range and will go up to 51200 and the slowest speed is 100. It has enough of a range that would suit most people who want to take photos in both low light and on sunny days.

With images taken at 12800 during a night show at Sovereign Hill you can see noise in the images, which is to be expected, but the amount isn’t that bad that the images are not useable. When compared with what older cameras did at ISO 3200, this camera takes a good image at the higher ISOs with much less noise as on other models. It fits in with many of Nikon’s cameras for using in low light.

The Winter Wonderland at Sovereign Hill was dark and to get images the ISO was put up to 12800.

Autofocus

Nikon has worked on the autofocus features with the D7500 and it is fast. You can track subjects and get fast focusing to get sharp images of whatever you are trying to capture. It doesn’t take long to get any subject in focus. It means you can work quickly, especially if you like doing street photography or something else where fast autofocus is needed.

Touch screen

Like most new cameras it does come with a touch screen which makes accessing sections in the menu easier and faster. You can just click on what you need. You can also use your fingers to scroll through the images you have taken. It turns the menu into a series of buttons, so you can move around it much faster and find what you need to make any necessary adjustments.

Another night image that was hand held and taken with ISO 128000.

LCD screen

The screen at the back is tiltable (it’s not full articulating) so you can change it when you want to use Live View. This is especially good for places where you have strange camera angle, for example, when you are photographing something that is close to the ground. You can put the camera in Live View mode, and then tilt the screen so you can see what you are shooting without having to get down on the ground as well.

Live View is really good, though you always need to be careful with how quickly it can drain the battery. Without a doubt, you will use the battery faster if you use this mode all the time. If you use the viewfinder instead the battery will last a lot longer and you will get plenty of photos.

This image was taken at Abbotsford Convent.

DoF preview button

It has been pointed out that the current model, the D7500, does not have a depth of field preview button (shows you what your image will look like with your selected aperture). Though it seems that many cameras are now removing this feature. It is not something that I either use or have looked for in a camera, but if it is an important aspect in your photography then it may be a problem for you.

Long exposure photography

You can use any DSLR camera for long exposures, and this one is no different. The images come out very sharp and you get the great effects that you would normally expect. One part that was surprising to me was using Live View with an ND filter on the camera, I could still see the scene. Many Nikon cameras do not do that. When the filter is on you can’t see anything, and you need to remove it to refocus and recompose. This is a great added advantage and makes taking long exposure images that much easier.

Long exposure taken at Banyule Flats using the D7500 and the 18-140mm kit lens.

Snapbridge

The camera has wifi, Bluetooth and Snapbridge. You can now connect your camera to your phone and get photos to instantly publish on social media. In other cameras the Snapbridge hasn’t worked well with Android phones, but with the D7500 I had no trouble getting my phone to find it and download images. It worked really well, and so far the best experience I’ve had with this app.

The 18-140mm kit lens

This is an interesting lens to include in a kit and many people would be really interested in it. The usual 18-55mm has been replaced with this one. It is a good choice for most people who are starting out with photography.

It has an aperture of f/3.5 at 18mm and when you zoom to 140mm the aperture range starts at f/5.6. It is much the same as other lenses of this type. For most photography, you are not going to want to go wider than those. It is a kit lens and you aren’t going to get something really amazing. If you want higher quality you need to buy the body separately and then get a lens separately.

The kit lens takes pretty good images of flowers up close. Not quite as close a macro lens, but fairly good.

Most lenses for cropped sensors are of a similar quality. The images from this lens appear sharp and the quality is good. While testing this camera and lens the combination was used for night photography, long exposures, walking around, and some macro. It performed well in all circumstances.

The lens does have Nikon’s Vibration Reduction or VR, which a lot of users now want. Though you can choose to turn it off, which you should do if you are using the camera on a tripod. You also don’t have to use this function.

I tend to turn VR off on my lenses so I don’t leave it turned on when using my tripod. I haven’t found it a problem, but if find that your images have some movement, or you have trouble holding the camera very still then you may find it easier to keep it turned on.

This image was taken as walking around the city.

Who would buy this camera and lens?

The Nikon D7500 is the top level amateur or non-professional camera that Nikon makes. It is for serious amateurs who want to get the best out of their photography, but can’t quite justify the extra expense of a full frame camera.

It would suit someone looking for a second camera after learning how to take photos with one of the entry level Nikon cameras, like one of the D3000 series models. It is a good step up and there are many features that the D7500 is capable of that the others aren’t.

There is no reason why someone who is new to photography shouldn’t purchase it either. It would be an ideal camera to learn and experiment with as you grow into the camera. The kit lens will also give you a lot of room to advance as well.

Another long exposure that was taken with the D7500 and the 18-140mm lens

Price

Amazon has the Nikon D7500 body listed at $ 1246.95, and if you want to buy the kit with the 18-140mm you can get it for $ 1546.95.

Conclusion

Overall, the Nikon D7500 would suit someone who is fairly serious about their photography and wants to get the most out of their camera. Someone who wants to take a lot of photos and also wants a model that is capable of doing many different types of photography. It is a camera that will do everything you want it to and you won’t be disappointed.

The post Review: Nikon D7500 with 18-140mm Kit Lens by Leanne Cole appeared first on Digital Photography School.

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Canon EOS Rebel SL2 / EOS 200D Review

19 Sep

The EOS Rebel SL2 (known as the EOS 200D outside of North America) is Canon’s second-generation ultra-compact digital SLR. It’s largely packed with Canon’s latest tech, including Dual Pixel AF, a DIGIC 7 processor, Wi-Fi with NFC and Bluetooth, and a new user interface for beginners.

While its small size may lead one to believe that it’s an entry-level model, similar to Nikon’s D3400, the SL2 actually sits above the bottom-end Rebel T6 (EOS 1300D), which costs $ 150 less.

The SL2’s main competitor is the aforementioned Nikon D3400, which is just a tad larger and heavier. The SL2s’ other peers are all mirrorless and include (in our opinion) the Canon EOS M5, Panasonic DMC-GX85 and the Sony a6000 which, after 3+ years on the market, is still competitive.

Key Features

24.2MP APS-C CMOS sensor
Dual Pixel autofocus (for live view and video)
9-point autofocus (through the viewfinder)
DIGIC 7 processor
3″ fully articulating touchscreen LCD
5 fps burst shooting (3.5 fps with continuous AF)
1080/60p video
External mic input
Wi-Fi with NFC and Bluetooth
Available ‘Feature Assistant’ user interface

Just about everything in that list is Canon’s latest and greatest, and the external microphone input is a nice extra. The one feature that’s not new is the 9-point autofocus system that you’ll use when shooting through the viewfinder – it’s identical to what’s found the original SL1, which is over four years old. You’ll get a much better focusing experience by shooting in live view, which uses Canon’s excellent Dual Pixel AF technology.

Compared to…

The SL2 (left) is the mini-me to the still-small Rebel T7i.

First, let’s take a look at how the SL2/200D compares to the step-up model, the Rebel T7i (EOS 800D). Here’s what you get for another $ 200 (with kit lenses for both models):

45-point AF versus 9-pt AF
7500-segment RGB+IR metering versus 63-segment (from which we’d expect better subject tracking)
6 fps versus 5 fps bursts with S-AF
4.5 fps versus 3.5 fps bursts with C-AF
Significantly larger buffer
Color tracking for AF in Single AF as well as Continuous AF
Semi-transparent LCD in viewfinder that can overlay grids, different AF points, an electronic level, and more
Built-in flash can trigger wireless strobes

Does the average point-and-shoot user need any of that? Probably not. If you plan on gaining more experience in the world of digital photography or want a more robust autofocus system, though, the extra $ 200 might be worth it.

Now, let’s take a look at how the specs compare between the the SL2 and the peers mentioned a few paragraphs earlier.

	Canon SL2	Nikon D3400	Canon M5	Panasonic GX85	Sony a6000
Resolution	24MP	24MP	24MP	16MP	24MP
Sensor size	APS-C	APS-C	APS-C	Four Thirds	APS-C
Lens mount	EF	F	EF-M	Micro 4/3	E
Image stab.	Lens-based	Lens-based	Lens-based	In-camera	Lens-based
AF system (live view)	Dual Pixel	Contrast-detect	Hybrid (Dual Pixel)	Contrast-detect	Hybrid
AF system (viewfinder)	9-point	11-point	N/A	N/A	N/A
LCD	3″ fully articulating	3″ fixed	3.2″ tilting	3″ tilting	3″ tilting
Touchscreen	Yes	No	Yes	Yes	No
Viewfinder type/mag.	OVF / 0.54x	OVF / 0.57x	EVF / N/A	EVF / 0.7x	EVF / 0.7x
# control dials	1	1	2	2	2
Video	1080/60p	1080/60p	1080/60p	UHD 4K/30p	1080/60p
Wireless	Wi-Fi + NFC + BT	BT	Wi-Fi + NFC + BT	Wi-Fi + NFC	Wi-Fi + NFC
Battery life	650 (OVF) 260 (LV)	1200 (OVF) N/A (LV)	295 (LV)	290 (LV)	360 (LV)
Dimensions (mm)	122x93x70	124x98x76	116x89x61	122x71x44	120x67x45
Weight	453 g	445 g	427 g	426 g	344 g

Strictly comparing the SL2 and D3400 you’ll see that they each have their own strengths and weaknesses. While there are ‘little things’ like the type of LCD, viewfinder size and wireless functionality, live view autofocus is the main differentiator. It’s simply no contest there with the SL2’s AF system blowing away the D3400 in live view and movie mode.

With the exception of the Sony a6000, the SL2 is close in weight, and not far off in size, to the three mirrorless cameras in the group. All three of the mirrorless cameras have an additional control dial, making exposure adjustment quick, and their EVFs are larger than the optical viewfinders on both DSLRs. None of the mirrorless models can compare to the DSLRs in terms of battery life, but only when you’re using the latter with their optical viewfinders.

Articles: Digital Photography Review (dpreview.com)

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Review of Macphun’s Aurora HDR 2018

19 Sep

HDR, or High Dynamic Range, photography is a technique that has been around for decades but really started making waves in the modern digital imaging scene around 2005. It involves combining multiple exposures of a picture, usually taken with a technique known as bracketing, to create one final single image with bright parts that are not overexposed and dark parts that are not underexposed.

Review of Macphun's Aurora HDR 2018

In recent years the software required to do this has gotten more powerful, less expensive, and so much easier to use. With just a few clicks anyone can make beautiful HDR images. Aurora HDR 2018 is the latest arrival in this category, created by Macphun, a developer rooted in photography and digital image manipulation. It’s a program that caters to casual users who want a fun creative outlet while also meeting the demands of professionals who make their living from designing beautiful works of photographic art.

If you want a single program that can handle all your HDR needs no matter your skill level, Aurora HDR 2018 may be just the tool for you.

What is HDR photography?

HDR photography is all about getting the best of both worlds when taking photos, particularly of static subjects like landscapes or architecture. If you’re taking a picture with extraordinary bright spots like a sunrise or sunset, you can expose for the highlights (i.e. the bright spots) which mean the dark parts get really dark and underexposed.

Alternatively, you can expose for the shadows (i.e. the dark spots) which leave the bright parts extra bright and overexposed. HDR photos are created when a photographer takes multiple shots, usually three or more, of the same scene: one underexposed, one properly exposed, and one overexposed. Then software such as Lightroom, Photoshop, Photomatix, and others can be used to combine all the images into a single picture that has detail in both the highlights and the shadows.

Before and after image showing what is possible with HDR.

How Aurora HDR is different

Compared to other offerings on the market, Aurora HDR’s brilliance lies in its simplicity. It’s far easier to use and just as capable as other HDR applications, and also very competitive in terms of its pricing. (Unlike some other apps, it’s available as a one-time purchase instead of with a monthly subscription.) When you open the program you are greeted with one large button that lets you load a single image or multiple exposures of the same image, which is all you need to do to get started. If you dig just a bit deeper you will notice two additional options: Batch Processing and Load Sample Images.

The former is useful if you want to quickly apply specific HDR processes and presets to many images at one time. While this can be useful if you have several images to go through I don’t recommend it for beginning users.

Aurora HDR 2018’s bread and butter is the incredible degree of control it gives you over the entire process of creating a High Dynamic Range image. This is where most people will get the maximum value out of the software.

What’s New in Aurora HDR 2018

Whether you are new to the world of creating HDR images with Aurora or are a longtime user of this software, many of the changes in the 2018 version will bring significant improvements to your workflow. The program has been rewritten from the ground up to focus on things like speed improvements, better RAW image handling, and a more user-friendly interface.

There is now a History panel which lets you see all the edits you have made to an image, and functions very much like the same option in programs such as Lightroom, which many photographers already use. The 2018 version also adds a Lens Corrections Tool and a host of other minor but noticeable tweaks while keeping the bedrock foundation of powerful yet easy-to-use HDR tools for professionals and beginners alike.

The lens correction tool is a welcome addition to the 2018 version.

These types of improvements mean a lot to me as a longtime Aurora HDR user since it sends the message that Macphun is committed to developing its apps. I’ve been burned before by companies that stop iterating on software I have come to rely on, such as Apple’s Aperture editing program, but it’s clear that Macphun is not going to leave photographers high and dry.

They have been making software for over a decade and are now even releasing some of their more popular programs for Windows users as well, including Aurora HDR 2018. It’s nice to see this commitment to continual improvement from developers, and it’s one of the reasons I enjoy using Macphun software so much.

Aurora HDR 2018 is open for pre-ordering now and will be available for purchase September 28th. Get more info here.

Other new features in Aurora HDR 2018 include:

A Transform Tool
Dodge & Burn Filter
Image flip and rotate
HDR Details Boost Tool
Rewritten tone-map engine to deliver more natural initial results
HDR Enhancer
Improved HDR Structure
Additional Blend modes

Getting started with Aurora HDR

If you are new to HDR processing and don’t know where to begin, click on Load Sample Images and you’re off to the races. The program will show you thumbnail previews of three separate pictures: one underexposed by two stops, one properly exposed, and one overexposed by two stops. When the program combines all three it will essentially give you a stunning HDR photo that you can then tweak and edit to your liking using a myriad of controls, filters, and effects.

Using your own JPEGs instead of the sample images results in a similar process, with Aurora HDR 2018 loading thumbnails of your images before you confirm that you want to proceed with combining them.

While using a tripod is ideal for creating perfect bracketed photos, sometimes horizon lines and other elements within the picture may be slightly misaligned. Click the Alignment button to have the program automatically correct for that. Additional Settings gives you options such as removing chromatic aberration and moving objects that might have changed position between each shot.

Keen dPS readers might be wondering whether Aurora works with RAW files, and thankfully they are fully supported by the program as well. You can work with one properly-exposed RAW file or use multiple bracketed RAW files to get even more room to experiment when creating your HDR images. The 2018 version includes a complete retooling of the RAW handling engine which results in improved color rendition and accuracy, which is a welcome change from previous iterations of the software.

Tools and first impressions

Once you have your pictures loaded into the main interface, creating a stunning HDR image can be as simple or as complex as you’d like. This is another aspect of Aurora HDR that I really enjoy. I have used other programs and workflows to do the same basic task of combining multiple exposures into a single image, none are as simple and yet as powerful as this program.

The interface might seem overwhelming at first but after a few minutes, I felt right at home. The non-destructive nature of the editing meant that I soon felt free to experiment with all sorts of different presets, sliders, and options without ruining anything.

Workflow

From a workflow standpoint, Aurora HDR 2018 is designed to be quick, efficient, flexible, and familiar to those who have used other image editors.

When I edit photos in Lightroom I usually head straight for the sliders on the right-hand side to tweak parameters like white balance, exposure, clarity, and sharpness. Aurora HDR 2018 gives you many of those same options. However, I have found that it is more efficient to start with a preset and then edit from there, much in the same way that Lightroom allows you to click a preset such as Aged Photo, Bleach Bypass, or Antique Black and White.

Using these presets in Lightroom just applies pre-determined values to various sliders like saturation, grain, clarity, and color which you are then free to change as much as you want. Aurora HDR 2018 works in exactly the same way. Choosing a preset like Foggy Morning, Realistic Dreamy, or Sleepy Forest results in nothing more than changing the values of Tools sliders on the right-hand side of the screen which you are then free to alter as desired.

Some of Aurora HDR presets previewed at the bottom of the screen inside the program.

Aurora plays nicely with most other image editors on the market including Lightroom and Photoshop. You can easily use it as a plug-in which means you can do all your normal work in Lightroom, then quickly send an image over to Aurora HDR for additional editing, and save it right back to Lightroom when you’re done.

Aurora HDR presets

If you have ever used Instagram’s photo filters you will feel right at home in Aurora HDR. In a way, you can think of the program like an extraordinarily powerful version of that rather basic social sharing app.

Once your photos are loaded you can click on a preset (each of which shows a small preview of how your final image will look) and then save your photo with no additional work or hassle required. The presets are even subdivided into categories like Basic, Dramatic, Landscape, and a few that were designed with input from professional photographers like Trey Ratcliff, Captain Kimo, and Serge Ramelli.

I must admit I don’t actually use Instagram filters because I find them to be distracting and unhelpful for my own style of photography, but I rather liked using Aurora HDR’s presets even though some were a bit too over-the-top for my taste.

You can take things one step further if you like, and create your own custom presets which can also be applied to any HDR image. This has come in handy for me on several occasions when I wanted to combine options from a few existing presets, tweak the values of a preset, or just create my own from scratch.

Simple interface

On the right side of the interface is a list of all the various tools used by Aurora HDR to control the parameters of your image. Some of them like Color, Tone Curve, and HSL will feel right at home if you have used Lightroom, Photoshop, or other image editors as these contain the same basic sliders you would expect.

When you click on a preset at the bottom of the screen the name of the tools used by that preset are highlighted in orange, which I found to be highly useful during the editing process. Since I knew immediately which values were being changed I could then use that as a starting point for my own experimentation which often led me down a rabbit hole of creativity that I didn’t expect but always enjoyed.

The only issue I had when experimenting with presets and sliders is that the program does tend to slow down when processing your changes, though this is much less noticeable in the 2018 version. While you still get a preview of what your edits will look like I did encounter several times when the “Image Processing…” alert would show up in the lower-left corner a bit more often than I would have liked.

Before and after mode

As you make changes, whether through presets or changing the values in individual Tools sliders, you can easily see how your work is progressing by using the Before/After view which I found to be handy. Clicking on this option gives you a vertical bar that you can slide back and forth to reveal the original image on one side and your changes on the other. You can also hold the \ key to quickly see the complete original and then release it to return to the current version with your edits.

Before and After slider in action showing how your edits are affecting the image.

It’s this sort of editor-centric workflow design that I really appreciated about Aurora HDR 2018. It makes the whole process of creating and editing an HDR image as straightforward as possible and easy to understand. I have used some programs where I felt hopelessly lost as if I had to change my own mindset and wrap my head around how the program wanted me to function.

With Aurora HDR it feels like the program was designed to meet my needs and my style. I never had one of those all-too-common moments of panic when I couldn’t remember where a critical button or tool was located or figure out how to replicate something I did a week ago.

Professional features and masking

Once you dig deeper into Aurora HDR 2018 you will find tools that appeal to even highly demanding artists who want precision control over their creations. A collection of edits such as applying a preset and then tweaking additional Tools sliders can be saved as a Layer, and then additional Layers can be added on top of it similar to Photoshop.

Masks

Masks can also be used on layers. You can even apply them with a brush tool which I found extraordinarily useful if there was a preset or set of edits that I just wanted to apply to a single portion of an image. If you want to get really specific with your editing you can even apply masks based on ten discrete levels of luminosity (luminosity mask), which means your adjustments will be implemented only on the brightest or darkest portions of the image instead.

Layer masks can also be applied as radial or linear gradients which can be very useful depending on the type of HDR image you are creating. And just like Photoshop and other image editors, your changes are non-destructive so you can revert back to any editing state any time you choose. You can also return to your edits if you save your file in the native Aurora HDR format before exporting to JPG, TIFF, or another file type.

Review of Macphun's Aurora HDR 2017

Blend modes

New in Aurora HDR 2018 you can also change the layer blend mode. Here it is applied to a layer that is applying selective darkening and lightening to specific areas of the image using the new Dodging and Burning Tool.

The Dodge and Burn Tool has been used to lighten the little cottage and bridge and part of the hill, and to darken the sky and parts of the reflection in the water.

Use the little Eye Icon to turn the effect on and off to see a Before and After.

New in Aurora HDR 2018 – Blend Modes! The default is Normal. Notice with this image the colors have become more saturated after dodging and burning.

By switching to Luminosity Blend Mode the colors are preserved and appear more natural.

Batch processing

One final arrow in Aurora HDR’s rather considerable quiver, which I briefly mentioned earlier, is the ability to quickly apply presets and other defined values to a batch of images. This saves you an enormous amount of time if you have dozens or even hundreds of photos that you want to edit at the same time, using the program’s built-in presets or your own custom ones.

I do wish the Batch Processing option allowed users to specify parameters on a tool-by-tool basis to combine presets with other options like Structure and HDR Denoise, but the workaround is to create your own custom preset and just apply that in Batch mode. Of course, this method doesn’t give you the sort of fine-grain control you would get from editing each HDR image individually, but the trade-off can be worth it in terms of overall time saved if you have a large number of images.

Conclusion and rating

During my time using Aurora HDR I was impressed with the simplicity of its interface as well as the sheer depth of HDR tools at my disposal. Macphun has clearly invested a great deal of time creating and refining Aurora HDR to appeal to demanding professionals and curious hobbyists alike. Having used previous versions of this program I found this iteration to be a welcome refinement in many areas.

In terms of value, it’s a phenomenal piece of software that doesn’t require a subscription and will serve HDR photographers very well. The one quibble I still have with Aurora HDR 2018 is that it’s a bit on the slow side when implementing some presets and manipulating certain sliders. But that was a minor issue with an otherwise stellar program.

Aurora HDR 2018 isn’t for everyone, and unless you specifically work with HDR images you might be frustrated that it doesn’t have features like Dehaze and Red-Eye Removal that you may be accustomed to using in other image editors. But then, it doesn’t claim to be an all-in-one editing program and instead abides by the age-old mantra of, “Do one thing, and do it well.” If HDR photography is what you’re into, then Aurora HDR will serve you very well indeed.

Disclaimer: Macphun is a dPS advertising partner.

The post Review of Macphun’s Aurora HDR 2018 by Simon Ringsmuth appeared first on Digital Photography School.

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Review and Field Test of G-Technology G-Drive ev ATC Portable Hard Drives

18 Sep

As photographers, keeping our data safe is of the utmost importance. Being able to trust your hard drives to work and survive all types of conditions and hardships is something to consider. As a wildlife photographer, I often find myself out in the elements, and when traveling, my gear has to put up with the rugged nature of travel, while still being ready to work when called upon. Recently I have been putting the G-Technology G-Drive ev ATC hard drives through their paces and I think these might just be one of the best rugged and solid ways to keep data safe on the move.

Review G Technology G Drive ev ATC Portable Hard Drive

G-Drive ev ATC hard drive features

The ATC is part of the G-technology ev series, a set of drives offering a simple workflow from the field to the studio. The ATC builds upon the standard RaW and ev drives by adding a polycarbonate protective shell to the main drive offering protection from bumps, dust, sand and even full submergence in water to keep your drive and data safe.

The case itself is solid – the simple blue and black design that is stylish and bright enough to easily find in dark conditions. The polycarbonate shell feels very solid in the hand and fits the drive like a glove. It seals closed with a latch system that might seem flimsy, but offers a solid click and seal to ensure the drive is closed off from the elements.

G-Drive ev ATC hard drives - The G drive inside the ATC case

G-Drive ev ATC hard drives Locking mechanism for waterproof closure

The G-Drive ev ATC comes in two varieties, offering Thunderbolt or USB-3 connections for your chosen device. The cords are built into the case itself so you don’t need to worry about forgetting them, a really well thought out design. Of course, the case adds an extra amount of bulk to the setup that might be a problem for those photographers wanting to keep things as small as possible, but personally, I think the extra size is a worthy trade off for the added protection.

Testing the drives during travel

Testing the drives out, they have accompanied me on a few international trips, coming as my primary and backup drives for work in the Falklands, Canada, and Finland. On each trip I have worked with two drives, keeping one as a primary and the other as secondary backup. The fast data transfer speeds were great, 1GB of data transferred in less than a minute over USB-3 meaning backups were swift and simple.

On returning flights keeping data separate is important (in case of a lost bag) and I had no worries about packing one of these with the G-Drive ev ATC hard drives into my checked baggage, knowing the solid construction would keep it protected from any rough handling from the dreaded baggage handlers! On all of my trips, the hold drive never skipped a beat, being ready to upload as soon as I got home to my office.

G-Drive ev ATC hard drives Using the internal drive with the EV docking station

The drive easily pops out and can be inserted into the G-Dock for easy file transfer back home.

In the office the workflow is simple. Popping the drives out of the housing I can easily slot them into the Ev docking station (called G-Dock) that gives me Thunderbolt speeds to upload images directly to my main drives for editing, backup and archiving. The ease of being able to just slot in one drive saves faffing around with multiple SD and CF cards again, keeping my workflow streamlined.

Extreme testing

To further test the drives I wanted to put them through the mill so I decided to rough them up with some real world testing. Grabbing one of the drives in the ATC case I took it out onto location and basically treated it like I didn’t care it was full of precious data. Dropping it onto the ground, into muddy puddles and even throwing it into my local river before rescuing it again down stream.

G-Drive ev ATC hard drives Tested in the dirt and mud without a hitch

Each test was passed with flying colors and even after fully submerging the drive underwater with my hand for a minute, it was in perfect working order. Of course, one problem with the drive is that you do need to check that everything is latched down. Human error, not fully closing the latch or getting something stuck into the gasket could compromise the waterproofing and seal, so it’s best to always be careful. I mean I doubt too many of us regularly throw our drives in a river intentionally…

G-Drive ev ATC hard drives Underwater isnt a problem for the ATC

As a drive, they are built solidly, but one area that I feel would be a great improvement is the use of SSDs rather than normal disk drives. Including an SSD would just add another level to the rugged nature of the drives making them even more durable for life on the road, while also giving faster transfer speeds. This would be especially useful for those editing and working with video files on the move as well.

As a photographer, G-Drive ev ATC hard drives suit my needs very well. The large 1TB hard drive easily has enough storage for a long photo shoot on location and with the protective shell offering great durability to my drives I am sure they will be part of my workflow for many years to come.

The post Review and Field Test of G-Technology G-Drive ev ATC Portable Hard Drives by Tom Mason appeared first on Digital Photography School.

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Fujifilm X-E3 First Impressions Review

07 Sep

The Fujifilm X-E3 is a 24MP mid-level APS-C mirrorless camera, designed as a smaller, more touchscreen-driven sister model to the SLR-like X-T20.

In terms of their internal hardware and specifications, the two cameras are very similar, but the X-E3 relies more heavily on its touch panel for moment-to-moment operation, as well as retaining a more rangefinder-like form factor.

It’s slightly smaller than the previous X-E models, with the removal of the four-way controller and built-in flash allowing the body to be made a little lighter and more compact. A clip-on flash is included in the box, but it’s a simple affair with no tilt or swivel capability to compensate for the decision to make it a separate component.

Key Features

24MP APS-C sensor with X-Trans color filter
Improved AF tracking
Wi-Fi with Bluetooth for constant connection to a smartphone
Shutter speed and exposure comp dials
Twin clickable command dials
AF Joystick
4K (UHD) video at 30, 25, 24 and 23.97p
USB Charging

The more advanced use of the touchscreen, with directional swipes of the finger replacing the role of the four-way controller, pinch to zoom in playback and the option to use the screen as an AF touchpad when the camera’s to your eye doesn’t come at the expense of physical controls for all the main exposure settings.

The X-E3 also becomes the first Fujifilm model to gain Bluetooth, which establishes a full-time connection between the camera and a smartphone, allowing instant transfer of images as you shoot them. [or faster re-connection of Wi-Fi if you’re just choosing to send selected images]

The company also says it has improved its AF Tracking algorithm so that it can track smaller and faster subjects. Fujifilm say this improved algorithm will also come to the X-T2, X-T20, X100F and X-Pro2 in fimrware updates in November and December 2017.

	Fujifilm X-E3	Fujifilm X-T20	Fujifilm X-T2	Fujifilm X-E2S
Pixel Count	24MP	24MP	24MP	16MP
Auto mode switch	Yes	Yes	No	Yes
AF Joystick	Yes	No	Yes	No
Touchscreen	Yes	Yes	No	No
AF Touchpad	Yes	No	No	No
AF points	91 or 325	91 or 325	91 or 325	49
Rear screen	Fixed	Tilt up/down	2-axis hinge	Fixed
Exposure comp. range	± 5EV	± 5EV	± 5EV	± 3EV
Viewfinder Magnification	0.62x	0.62x	0.77x	0.62x
Max frame rate (mech/e-shutter)	8/14 fps	8/14 fps	8/14 fps (11/14 with grip)	7 fps
Built-in flash	No	Yes	No	Yes
Video	Full width 4K (by Pixel Binning)	Full width 4K (by Pixel Binning)	1.17x crop 4K (by oversampling)	1080p
Log Video	No	No	Yes (over HDMI)	No
Weather sealing	No	No	Yes	No
Card slots	1 (UHS-I)	1 (UHS-I)	2 (UHS-II)	1 (UHS-I)
Connectivity	Wi-Fi with Bluetooth	Wi-Fi	Wi-Fi	Wi-Fi

Kit options:

Fujifilm will offer the X-E3 in two kits, one with the excellent 18-55mm F2.8-4.0 OIS, the other with the 35mm-equivalent 23mm F2 lens. We’re particularly interested to see this second kit, as it’s a combination we particularly like. It’s also a useful option for anyone who already has an earlier generation X series camera and already owns the 18-55mm.

The camera will be available, body only, for around $ 899, with the 18-55mm kit costing $ 1299 and the 23mm kit weighing in around $ 1149, both of which represent a considerable cost saving over the cost of buying the lenses separately.

Articles: Digital Photography Review (dpreview.com)

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Review of the Panasonic Lumix G Leica DG Vario-Elmar 100-400mm Lens

05 Sep

In this review, I’ll discuss my experience testing out the Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 IS lens. It is compatible with mirrorless four thirds camera systems.

Downsizing

Last winter, I adopted my first new camera system since I started shooting seriously two decades ago. I’ve used Canon cameras for my entire professional career, though I’m hardly a devout follower of the brand. I’ve shot Canon for the simple reason that I own Canon gear, am content with the quality, and switching to something new was just too much trouble.

Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

However, in my work as a wilderness photographer and guide, weight and size of my equipment are a big deal. Often, I’ve found myself leaving gear at home that I’d otherwise like to have, for the simple reason that there wasn’t space or the gear weighed too much. So, I started looking for a compact system that would provide the quality and flexibility I needed.

I ended up with a Panasonic Lumix GX85 mirrorless body, as an experiment into the micro 4/3rds system. Without mincing words, I’ve been extremely impressed with this very compact, very light, and very capable little camera. In the months I’ve been using it, it has easily out-stripped my Canon DSLRs as my most-used camera.

Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

A flash of sunlight on the tundra of the Brooks Range. Panasonic-Leica 100-400, 187mm, f5.0, 1/250th.

Looking for lenses

With weight and size as a major consideration, I’ve started shopping for additional lenses, to see if there is anything available that would allow me to part with at least some of my Canon kit. Rather than spend a bunch of bucks, I’m trying things out via rental lenses. The first big telephoto I’ve tried is the Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens.

When mounted on a micro 4/3rds camera like the Lumix GX85, the 100-400mm lens has a full-frame equivalent of 200-800mm, which definitely appealed to my inner wildlife photographer.

I recently spent about 10 days with this lens on a wilderness trip to the Arctic National Wildlife Refuge. This review is about how it functioned and the resulting image quality. I’ll leave the technical assessment of chromatic aberration, color fidelity, and variable sharpness in other, more capable, hands.

First Impressions of the Panasonic 100-400mm lens

Out of the box, the all metal construction of this lens struck me as sturdy, compact, sleek, and well-made. The rotating focus and zoom rings were smooth and precise and there was no grinding or slippage. The simple lock-out ring was easily adjusted to keep the zoom from slipping forward or back. No complaints. Panasonic Lumix G Leica DG Vario-Elmar 100-400mm f4-6.3 lens

I promptly took it out of for a quick walk around my home here in Fairbanks, Alaska and made a few images of flowers, testing the focus and bokeh.

This was the only image I made with the lens where it had a hard time auto-focusing. I suspect it was due to the relatively dark background and low-contrast subject. 400mm, f/6.3, 1/160th.

The background bokeh retains some detail in this image at 400m, f/7.1, 1/2000th.

Sharpness is surprisingly good even at 400mm (800mm equivalent) though I did find the autofocus in low-contrast situations to be a bit slow and imprecise. The image of the Delphinium (purple flower, above) took multiple attempts to grab focus, presumably due to the dark background.

Cottongrass. Even at 400mm, the center piece of cotton is tack sharp. 400mm, f8, 1/2500th.

The combination of the micro 4/3rds sensor (which as a 2x crop factor) and the f6.3 aperture (at 400mm) did extend the depth of field and reduced the clean bokeh I’m used to with my faster Canon 500mm f4. However, when the subject is set suitably away from the background this improves markedly.

Into the Field

Looking north from the mountain front toward the coastal plain of the Arctic National Wildlife Refuge. 100mm, f4.7, 1/2500th.

The following morning, I boarded a small bush plane and flew from Fairbanks, over the arctic circle to the northern Brooks Range and coastal plain of the Arctic National Wildlife Refuge.

I was impressed with the color and contrast detail using the lens. 137mm, f/8.0, 1/1600th.

The long and short of that trip is that the weather sucked. Usual, y the Arctic Refuge is a dry place (it’s actually an Arctic desert) but not on this trip. My clients and I spent long hours holed up drinking hot chocolate, rather than hiking across the dramatic landscape. This was a bit of a drag, but it did make us appreciate the rare moments when the weather cleared enough to allow rays of sun to fall on the tundra.

During those moments, I would scurry out, camera in hand, and make images. Usually, when photographing the landscape, I rely on wide angles, and short telephotos. However, the specks of interesting light that found their way to the ground through the low clouds were small, and I found the reach of the 100-400mm lens a near-perfect match for the conditions.

Bird photography

I also had the chance to make a few images of the Semipalmated Plovers that shared our riverside camp.

Semipalmated Plover on the a gravel bar on the coastal plain of the Arctic National Wildlife Refuge. The feather detail is extremely good, even when viewed at 100%. 250mm, f/11, 1/500th.

Semipalmated Plover. 400mm, f/9.0, 1/200th (Handheld at 800mm equivalent! That’s some solid image stabilization there.)

I’m accustomed to making wildlife photos with a monstrous 500mm f/4, which while huge, also has amazing image quality and a lovely, clean background bokeh. I expected this lens to be second-rate at best.

And yet, I was pleasantly surprised. Image sharpness was more than acceptable throughout the lens’ range. And the bokeh issue was resolved (at least somewhat) by laying down on the ground and shooting at the bird’s eye level. This provided a good separation from the bird to the background.

Sun patch detail. 400mm f/6.3, 1/250th.

In situations where this kind of separation is impossible to create (say a forest, or shrubby area), then the extended depth of field of this slower, faster lens will unquestionably be an issue.

The image stabilization in the lens and camera worked seamlessly together, making handheld shooting a breeze. Even at an 800mm equivalent, and surprisingly long shutter speeds, it performed well.

Final Thoughts

I just couldn’t help comparing this lens to my Canon 500mm f/4. I know it isn’t a fair comparison. The 500mm weighs nearly 8lbs, while the 100-400mm comes in just over two. The street price of the 500mm is a college-fund draining $ 9,000 USD, while the Panasonic 100-400mm slips in at a comparatively cheap $ 1,800 USD.

Lens Review: Panasonic Lumix G Leica DG Vario-Elmar 100-400mm

Rotten weather meant that snow fell on the mountains just above our camp…in July! Ahhh, Alaska. 180mm, f/9.0, 1/500th.

But the very fact that I AM comparing these two wildly different sized and priced lenses says something very good about the Panasonic-Leica 100-400mm, I think. For what it is and what you get, this lens is extraordinary.

Is it as good as a 500mm f/4 prime Canon L-series lens? No way. Is it still really, really good? Yes, it is, and for the price and size, I’m not sure it can be beaten.

I’m not ready to trade in my big glass for this little, solid lens, but when it comes to light backcountry journeys, I could sure as heck see the Panasonic Lumix 100-400mm f4-6.3 lens as a great addition to my kit.

The post Review of the Panasonic Lumix G Leica DG Vario-Elmar 100-400mm Lens by David Shaw appeared first on Digital Photography School.

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Review of the F-Stop Kashmir Backpack for Women

04 Sep

In my 10 years of photography I have owned three backpacks, one sling bag and several different strap options. None of these have provided the perfect bag for every situation but as a landscape photographer, the best option so far has been the F-stop Kashmir UL Backpack. One of the main reasons, for me, is that it is one of the few bags that has been specifically designed for a woman’s physique.

Review of the F-Stop Kashmir Backpack for Women

The F-stop Kashmir backpack showing external pocket on waist support

Most backpacks are designed for men who are around 6 feet tall. This means the bags are usually too long, the straps are set too wide on the shoulders, and the chest straps are not long enough. The waist straps are also not in the right place and generally they just don’t fit properly. If you are loading up several kilos of camera gear with the intention of hiking for 2-3 hours, then a properly fitting and comfortable bag is a must.

One of the main issues I have with other bags marketed to women, is the assumption that looks are important, and that less gear will be carried – in other words, it’s a glorified handbag. If you are a woman who carries a fair amount of gear (for example, one camera body and 2-3 lenses, a tripod and other accessories), who walks for several hours, and wants a proper bag to carry it in, then read on.

F-stop launched a Kickstarter campaign a couple of years ago which is how I got my bag but you can get yours via Amazon.

Review of the F-Stop Kashmir Backpack for Women

Design of the Kashmir Backpack

My main requirements in a backpack are fit and functionality. Does it fit comfortably, and does it carry everything I need it to easily. Let’s assess the design of the Kashmir backpack:

Exterior materials are ripstop nylon that’s been polyurethane coated with weatherproof YKK zippers.
Reinforced base for ground protection.
Top and side handles.
Lots of external pockets.
Lightweight – the bag itself is 1.1kg or 2.5lbs.
Takes an internal ICU which is mounted internally.
Supports external attachments for tripods, etc.
Rain cover is an optional extra.
Internal aluminum frame.
Padded back panel with breathability gaps.

The F-stop Kashmir backpack is black with cobalt blue straps. There is subtle branding on the back, front strap, and back support which cannot be obviously removed. Shoulder straps are slightly narrower than usual, cut in a curve for a better fit, and are well padded. An adjustable chest strap that has a lot of play sits comfortably quite high on the chest. The waist support features two large hip mounted panels that bend around the waist with a wide adjustable strap in front.

Back view showing the adjustable chest straps on slide mount on shoulder straps.

Features

An abundance of pockets is a key feature with the Kashmir. Pockets in the hip supports, large mesh side pockets, top flap pocket, back pocket, laptop, and a hydration bladder pocket internally all mean there are plenty of options for packing stuff away. There are also several loop attachments provided to allow tripod or other hardware to be attached with optional gatekeeper straps.

Zippers are good quality, slide easily and don’t catch. They have good long tags attached for easy grip.

Camera gear is stored in a separate ICU (Internal Camera Unit) which are available in several sizes. I got the Medium Shallow ICU which holds my 7D Mark II, 17-55mm f/2.8, 70-200mm f/4 IS L, 10-22mm UWA and a Mind Shift Filter Hive full of Lee Filters.

Internal view of the F-stop Kashmir backpack showing the ICU loaded up.

Comfort and Fit

As someone who is five foot six inches tall (average height for a woman) and around a US size 12-14, I have struggled to find a backpack that would do two things, fit both me and all my gear. A bag that was small enough to fit me comfortably, was often too small to hold all my gear.

The Kashmir backpack manages both nicely. The shoulder straps are a good width and the narrower curved cut means they fit around my shoulders and body better and don’t chafe. When the bag is fully loaded it rides on the back of my hips, and the hip straps take up a lot of the load when they’re tightened. I can walk with this backpack for several hours and still feel pretty comfortable when all the straps are properly adjusted and tight.

Review of the F-Stop Kashmir Backpack for Women

My personal reason for using a backpack is due to a car accident that injured my neck several years ago. My neck and shoulders will not support the load of one strap. So a backpack is the best option to balance the heavy weight properly, and the Kashmir is quite comfortable for me to wear this way.

Closeup of chest strap, also showing D-ring mount.

Ease of Use

The Kashmir backpack is designed to be used while on the ground. The back flap zips open to give you access to the camera gear. While you can swing it around and access it while hanging onto the bag, its not particularly easy to do so.

Someone wanting a subtle, quickly accessible bag for street photography is not going to want the Kashmir. Landscape or wildlife photographers who need to carry a lot of gear, a variety of clothing options and a tripod should be interested in the Kashmir.

View of the front and the rather grubby waterproof base on mine. This bag gets taken everywhere!

The Shallow Medium ICU holds a lot of stuff, any more and it would be too heavy for me to carry around for too long. Plus the bag itself has loads of room for things like extra clothing layers, a hydration bladder, a laptop or tablet, hat, gloves, and accessories. With a 30L capacity, it is a good day pack option.

Top view of the main interior showing the top of the ICU and lots of space for extra stuff like clothes.

Additional Features

Not all backpacks come fully loaded with a range of features, so here are the highlights of the extra features on the Kashmir backpack:

Hydration bladder pocket with port for hydration tube.
Laptop pocket (also doubles as the hydration pocket).
Supports external attachments for tripods, lenses and other items.
Optional rain cover.
Top and side handle.

Side view of mesh net and supporting straps.

Is it the perfect bag?

No, but for my purposes it’s pretty close.

The chest strap doesn’t come up quite as high as I would like. I had some chafing from the shoulder straps, and if I could have pulled them in a bit with the chest strap, that would have solved that problem.
The top flap pocket is very loose and contents tend to come out of it easily. A couple of smaller pockets that zip closed would be a better option.
Internally within the greater backpack space it could do with some options to add pockets. There is a lot of dead space down the sides of the ICU that could be better utilized.
The ICU is very difficult to get in and out of the bag – haven’t taken mine out since it was put in there. It’s supposed to be easily removable for storage, but really isn’t.
The foam pads in the ICU are a bit limiting in the configuration options you can have, which was a bit frustrating. I made it work, but it isn’t quite how I want it.
Wearing a heavy jacket, it can be a tight fit to get the bag over the extra bulk on my shoulders to get the bag on and off. Loosening the straps helps but I prefer not to mess with those once I have them set correctly.

Top pocket with mesh net pocket inside.

Conclusion

If you are a woman looking for a backpack to load up and enjoy a day out shooting then I highly recommend the F-stop Kashmir Backpack. It isn’t perfect, but with the exception of the issue with the top pocket losing its contents all over the place, most of my issues are design tweaks. Nothing to seriously interfere with the comfort and wearability of the bag.

Yes it can be heavy when well loaded, but the better fit of the straps and the shorter design, coupled with the good hip/back support means its not too tiring to carry around a decent load. I regularly lug 5-8 kg depending on what I am shooting, and can easily carry it for a day out (probably 2-3 hours walking).

It is well made, of quality materials, and caters to the serious outdoor shooter with comfort, safety and style.

The post Review of the F-Stop Kashmir Backpack for Women by Stacey Hill appeared first on Digital Photography School.

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Nikon D850 First Impressions Review

25 Aug

Nikon D850 preview

The Nikon D850 is Nikon’s latest high resolution full-frame DSLR, boasting a 46MP backside-illuminated CMOS sensor. But, in a fairly radical departure for the series, it is also one of the company’s fastest-shooting DSLRs. This combination of properties should significantly widen the camera’s appeal to high-end enthusiasts as well as a broad range of professional photographers.

Key Specifications:

45.7MP BSI CMOS sensor
7 fps continuous shooting with AE/AF (9 with battery grip and EN-EL18b battery)
153-point AF system linked to 180,000-pixel metering system
UHD 4K video capture at up to 30p from full sensor width
1080 video at up to 120p, recorded as roughly 1/4 or 1/5th speed slow-mo
4:2:2 8-bit UHD uncompressed output while recording to card
1 XQD slot and 1 UHS II-compliant SD slot
Battery life rated at 1840 shots
3.2″ tilting touchscreen with 2.36M-dot (1024×768 pixel) LCD
Illuminated controls
19.4MP DX crop (or 8.6MP at 30fps for up to 3 sec)
SnapBridge full-time Bluetooth LE connection system with Wi-Fi
Advanced time-lapse options (including in-camera 4K video creation)

High resolution

The use of a backside illuminated (BSI) sensor means that the light collecting elements of the sensor are closer to the surface of the chip. This should not only increase the efficiency of the sensor (improving low light performance) but should also be expected to make the pixels near the edges of the sensor better able to accept light approaching with high angles of incidence, improving peripheral image quality.

Like the D810 before it, the D850 continues to offer an ISO 64 mode, that allows it to tolerate more light in bright conditions. We will be testing whether this gives the D850 the same dynamic range advantage as the D810, as soon as a production version arrives but our initial quick looks suggests it does, meaning it should be able to compete with the medium format sensors used in the likes of the Fujifilm GFX 50S and Pentax 645Z.

A BSI sensor with ISO 64 setting should be able to match the D810’s low ISO DR while also offering improved performance in at high ISOs.

And, while the D850 still hasn’t got an electronic first curtain option to ensure stable shooting when using the viewfinder (you need to use live view or Mirror-up mode). However, presumably thanks to a redesigned shutter and mirror mechanism, our quick check with a pre-production model suggests shutter shock may not be an issue, even without it.

The D850 has no anti-aliasing filter, which should allow for slightly finer detail capture but with added risk of moiré, if any of your lenses are sharp enough to out-resolve a 45.7MP full-frame sensor. There’s still no sign of the clever design Nikon patented so, unlike the Pentax K-1 or Sony RX1R II, you can’t engage an anti-aliasing effect if you do find false color appearing in densely patterned areas.

High Speed

In addition to the increased speed, the D850 also gains the full AF capabilities of the company’s flagship sports camera: the D5. This includes all the hardware: AF module, metering sensor and dedicated AF processor, as well as the full range of AF modes and configuration options, which should translate to comparable focus performance combined with high resolution.

Given the D5 possessed one of the best AF systems we’ve ever seen and could continue to offer that performance in a wide range of conditions and shooting scenarios with minimal need for configuration, this is an exciting prospect.

As part of this system, the D850 gains the automated system for setting an AF Fine Tune value. It only calibrates the lens based on the central AF point and for a single distance, but it’s a simple way to ensure you’re getting closer to your lenses’ full capabilities, which is handy given you’ll now be able to scrutinize their performance with 46MP of detail.


Add the optional MB-D18 battery grip and an EN-EL18b battery, and the D850 will shoot at 9 frames per second.

Impressively, the D850 can shoot at nine frames per second if you add the optional MB-D18 battery grip and buy an EN-EL18b battery, as used in the D5. As well as increasing the camera’s burst rate, this combination also ups the battery life to a staggering 5140 shots per charge. You don’t get this same boost in speed or endurance if you use a second EN-EL15a in the grip, though.

An MB-D18 plus an EN-EL18b is likely to set you back over $ 580 over and above the cost of the camera body ($ 399 for the grip, around $ 149 for the battery, $ 30 for the BL-6 battery chamber cover plus the cost of a charger).

The D850 also includes a sufficiently deep buffer to allow fifty-one 14-bit losslessly compressed Raw files, meaning the majority of photographers are unlikely to hit its limits.

Video capabilities

In terms of video the D850 becomes the first Nikon DSLR to capture 4K video from the full width of its sensor. The camera can shoot at 30, 25 or 24p, at a bitrate of around 144 Mbps. It can simultaneously output uncompressed 4:2:2 8-bit UHD to an external recorder while recording to the card. Our initial impression is that the video is pixel-binned, rather than being resolved then downsampled (oversampling), but we’ll be checking on this as part of the review process. This risks lowering the level of detail capture and increases the risk of moiré, though it’s a better solution than line-skipping. There also seemed to be a fair amount of rolling shutter, but again these are only first impressions from a camera running non-final firmware.

At 1080 resolution, the camera can shoot at up to 60p, with a slow-mo mode that can capture at 120 frames per second before outputting at either 25 or 24p. The 1080 mode also offers focus peaking and digital stabilization, neither of which are available for 4K shooting.

The D850’s tilting rear screen will make video shooting easier, though we doubt many will use its contrast-detection tap-to-focus system when they do.

The D850 doesn’t have any Log gamma options for high-end videographers, but it does have the ‘Flat’ Picture Profile to squeeze a little extra dynamic range into its footage, without adding too much to the complexity of grading. It also offers full Auto ISO with exposure compensation when shooting in manual exposure mode, meaning you can set your aperture value and shutter speed, and let the camera try to maintain that brightness by varying the sensitivity.

As you’d expect from a camera at this level, the D850 also includes the Power Aperture feature that allows the camera to open and close the lens iris smoothly when in live view mode. There’s also an ‘Attenuator’ mode for the camera’s audio capture, that rolls-off any loud noises to avoid unpleasant clipping sounds.

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Sony a9 underwater review: Shooting great white sharks

22 Aug

Backscatter Underwater Video & Photo is the largest underwater imaging equipment supplier in the world. They love the water, and they personally dive and shoot with the gear they sell. This article originally appeared on their website, and is reproduced here with permission.

With the high speed shooting of the Sony a9 mirrorless camera and just released Nauticam NA-A9 underwater housing, we decided the best underwater photography test was to take it to the island of Guadalupe off the Baja California coast to shoot great white sharks.

The white sharks are a perfect subject to test with this camera due to their speed, relative unpredictability, stealthiness, and camouflage. All of these factors require a camera to have fast and accurate autofocus, fast continuous shooting mode, and a really deep image buffer to capture as many pictures as possible to nail that one special shot.

Sony designed the Sony a9 to do just that and aimed this camera to directly compete with the Nikon D5 and Canon 1DX II, both of which are the top cameras from Nikon and Canon for high-speed shooting.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F8 ISO 320

Blazing Fast Autofocus Performance

The Sony a9 has a crazy amount of AF points at 693 when set in wide mode that covers 93% of the frame and updates focus at a stunning rate of 60 times per second. I used the Sony 16-35mm f/4 lens exclusively for this trip and let the camera pick from the 693 autofocus points on its own.

With this camera and lens combination, I did not have any problems with the camera and lens not tracking the subject, even during high speed “attacks” of the sharks going after the bait, when letting the camera choose on its own among the 693 AF points. Only when a shark was at the limit of visibility did the AF system lose the subject and started to track the water surface instead. When a shark came back to be within the limits of visibility, the AF system immediately picked it back up again. That being said, the visibility at Guadalupe Island is about 70 to 100 feet, which is so far beyond what any acceptable composition distance is for underwater photography.

A major advantage of the autofocus system of the Sony a9 is the ability to track focus WHILE rapid fire burst shooting without any screen or viewfinder blackout. This allows continuous shooting, auto focusing, framing, and zooming all to happen at the same time seamlessly. This was a godsend for the rapidly changing distance to subject and framing that happens as these sharks move through the scene.

For shooting technique, I just mashed down and held the AF-ON button on the back of the camera and the shutter release simultaneously, while at the same time moving the zoom knob and panning the camera for framing the shot. The camera continued to shoot and focus track the subject with no issues. This technique might seem rather crude, but worked quite well given the task at hand.

The Sony a9 is the fastest shooting full frame camera on the planet. Combined with super fast autofocus, it has the ability to capture the subtlest movements. This image sequence was shoot at 20 frames per second. 1/400, F11, ISO 1000

Fastest Shooting Speed for a Full Frame Camera Ever

The Sony a9 can shoot up to 20 frames per second in RAW with a 241 shot buffer when using the electronic shutter, and 5 frames per second with the mechanical shutter. The electronic shutter does not sync with strobes (not that a strobe could keep up!) while the mechanical shutter does sync with strobes. The custom function button C3 is setup from the factory to allow the photographer to choose between mechanical or electronic shutter.

There are three continuous shooting modes on the camera–high, medium, and low. I kept it on continuous high the whole time and used the C3 button to choose between mechanical and electronic depending on whether I wanted to use strobes in the shots.

For shots with strobes, I kept my strobes at 1/4 power to ensure a super fast recycle that would keep up with the camera’s 5 frames per second shutter. We hope that in the future Sony will make an electronic shutter that will sync with strobes and get past the mechanical flash sync speed limit of 1/250 second.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F9 ISO 400

Exposure Technique for White Sharks—Auto ISO

With distances and the amount of light reaching the subject changing rapidly with shooting great white sharks, it’s hard to shoot fully manual and nail each exposure each time.

We’re up against a few limits that aren’t exactly ideal for going over to program auto exposure, aperture priority, or shutter priority. A fast shutter speed is needed to freeze the motion of the shark. A higher aperture is needed to get the corners sharp with a wide angle zoom lens behind a dome.

Needing to set both of these in the past has meant needing to shoot full manual exposure, but with Sony’s excellent ISO performance and customizable Auto ISO feature, manual exposure mode with Auto ISO is how I shot each one of these shots in this review.

Sony a9 vs. Sony A7R Mark II vs. Nikon D810

Sony’s stills image quality in their flagship cameras have been at the top of the heap of not only the mirrorless camera category, but also beating out top level SLRs as well for the last few years. The color, sharpness, detail, and noise levels are all excellent and find the Sony a9 among the top of the list in each of these categories.

While the higher resolution cameras of the Sony a7R II and Nikon D810 will edge out the Sony a9 in ultimate image quality, neither of those cameras come close to the speed of this camera, and it’s hard to find another camera besides these two that will outperform the Sony a9 in image quality with what we have available to shoot underwater.

Sony a9 Camera, Nauticam NA-A9 Housing, Sony 16-35mm Lens. Shot at 1/250 F8 ISO 400

Who Is This Camera For?

The Sony a9 doesn’t come cheap. At $ 4,500, it is the most expensive full frame mirrorless camera on the market today. Then again, it’s designed to run head to head against the Nikon D5 which does 12 frames per second, and the Canon 1DX II, which does 16 frames per second—those cameras are $ 6,500 and $ 6,000, respectively.

Sony definitely shakes up the established competition in this area by besting these cameras in terms of overall speed and image quality. While there may be additional features such as 4K 60p video and the best ambient light white balance out there with the Canon 1DX II, the Sony a9 comes in at a much lower price point, especially for the amount of still image shooting performance you’ll get.

If you are someone who likes to shoot fast moving pelagic sea life such as sharks, dolphins, whales, mantas, sailfish, etc., this is definitely the camera for you. The speed of focus, focus tracking and shooting, and 241 RAW shot image buffer is mind boggling and second to none. You’ll be able to get the shot with focus nailed better than any other camera out there today.

For someone who needs more resolution than 24 megapixels, and must have pro level 4K video with accurate custom white balance at depth, those are the only areas where this camera will fall short.

Articles: Digital Photography Review (dpreview.com)

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Review of the Polaroid Pro Studio Digital Flash Umbrella Mount Kit

22 Aug

One of the biggest challenges for amateur photographers is getting comfortable with shooting with off-camera flash. Not only does the technique take much time to master, but lighting equipment is expensive! This is where Polaroid is aiming to help out. The new Polaroid Pro Studio Digital Flash Umbrella Mount Kit might be a mouthful to say, but it is exactly what it says: a portable umbrella lighting kit. What it doesn’t mention is that it is also very affordably priced for the amateur photographer (under $ 65!). Find out more details about the new Polaroid lighting kit below!

Review of the Polaroid Pro Studio Digital Flash Umbrella Mount Kit

What’s Included

Altogether, this lighting kit weighs a total of 8.5 lbs and runs $ 64.99 USD. According to the product description, the “Polaroid Digital Flash Umbrella Mount Kit includes all of the essential lighting equipment you will need.” These items include:

1) Two Light Stands

These Polaroid brand light stands are three-sectioned twist locks AND they are air cushioned. They fold down to 26 inches and can extend as high as six feet and hold up to 15 lbs. The weight of the light stands isn’t stated, but they’re not heavy at all. This means they travel very easy, but you’ll have to compromise some stability and support.

Review of the Polaroid Pro Studio Digital Flash Umbrella Mount Kit

2) Two Umbrellas

Umbrellas are one of the simplest, most compact ways to beautifully diffuse light. Polaroid smartly includes two white satin umbrellas with this lighting kit. Both umbrellas have a removable black backing, allowing you to use it as a bounce or shoot through umbrella. Best of all is the fact that the removable backing is stiffer, with sturdier end caps than competing (even higher-end) umbrella brands like Westcott. This makes it much easier to put the backing back on the umbrella.

These octagonal umbrellas are about 33 inches in diameter, which might be a miss for those who need a larger size. But based on the sturdiness of the light stands, you probably don’t want to stick overly large and heavy umbrellas on those stands anyway.

Review of the Polaroid Pro Studio Digital Flash Umbrella Mount Kit

3) Two Cold-Shoe Mount Umbrella Adapters

The last components of this lighting kit are the cold-shoe mount adapters. These allow you to attach the umbrella to the light stand, and mount a speedlight flash. Polaroid’s own adapters each have a swivel, umbrella socket, and a cold-shoe mount that should fit most standard speedlight flashes. The adapters are adjustable, allowing you to shift the angle of the whole setup.

Review of the Polaroid Pro Studio Digital Flash Umbrella Mount Kit

4) A Carrying Case

One of the best parts about the Polaroid Pro Lighting Kit is that all of the above items come delivered in a perfectly sized carrying case. The bag is about 29 inches long, 8 inches wide, and 7 inches high. It’s also very lightweight and holds all of the lighting kit components, with room to spare. The inclusion of the carrying case is a really nice touch, as many other lighting stand providers almost never include a case.

Polaroid Pro Studio Light Kit

What’s Not Included

You may have noticed that a few critical lighting kit items were omitted: a camera, flash units, and flash triggers. Thus, this does not include all of your “essential lighting equipment you will need,” so note the need to purchase these additional items. On the bright side, there are some affordable flashes and triggers on the market that you can add to keep your overall lighting kit inexpensive.

Instead of Canon or Nikon brand flashes, consider the Polaroid PL-190 TTL Flash.
Instead of Pocket Wizards, consider Yongnuo RF-603 Flash Triggers.

Review of the Polaroid Pro Studio Digital Flash Umbrella Mount Kit

Note: Flash unit and flash triggers are not included.

This kit is for you if…

If you’re just getting started with off-camera flash and studio lighting equipment, the Polaroid Pro Kit is a great way to start out. The kit is affordable while providing you what you need. It may not hold up in the long run, but at this price, buying a second kit doesn’t hurt. Also, if you’re a pro photographer needing a lightweight, portable lighting kit for on-the-go shoots, this may meet your needs as well.

For photographers needing extremely durable lighting stands or umbrellas bigger than 33 inches, this kit probably isn’t for you. It costs $ 64.99, and you get what you pay for. If you’re needing equipment for a pro studio for daily use, spend more money on heavier-duty gear.

Verdict

After testing out the Polaroid Pro Studio Digital Flash Umbrella Mount Kit, I fell head over heels in love with it. The kit isn’t much different from my current setup (two Manfrotto 5001B Nano light stands with Westcott umbrellas). While my Manfrottos feel sturdier than the Polaroid light stands, the price of one Manfrotto stand is nearly equal that of the entire Polaroid Pro kit. Not so terrible.

I used this lighting kit on a couple of on-location food photography photo shoots and was pleased with the results, plus the kit’s extreme portability. Sample photos taken with the Polaroid Pro kit are shown below. All images were shot with a Canon 5D Mark III with 24-70mm f/2.8 lens and Canon 580 EXII Speedlight Flashes.

For simple professional jobs where I’d use a 33-inch umbrella, the Polaroid Pro kit is ace. However, if I were planning to work with bigger, heavier lighting units or modifiers, I’d definitely turn to a heavier duty option.

The post Review of the Polaroid Pro Studio Digital Flash Umbrella Mount Kit by Suzi Pratt appeared first on Digital Photography School.

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