Blog

Try Out These Awesome Photography Printing Mediums for Fantastic-Looking Photos

The post Try Out These Awesome Photography Printing Mediums for Fantastic-Looking Photos appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

An awful lot of blog posts focus on the mechanics of the photograph. They discuss composition, shutter speed, aperture, etc. Other posts talk about post-processing and making an image into a piece of art. Do a search and you’ll find hundreds of articles that show you how to clone, or how to use HDR. There’s a third section to this whole process of photography that so many forget to discuss. The digital age and social media have given us another way to share our art. We post the photograph online-only worrying about how it appears on the screen. We’ve forgotten that part of the beauty of our work is more concrete. We have forgotten how amazing it is to print our work, so this article will look at photography printing mediums.

Image by andreas160578 from Pixabay

If we do print our work, we tend to choose something standard. We upload our work and look for a cheap frame. It’s done. We don’t think very much about the photography printing mediums we use when printing our work. There’s so much we can do now. The media used to print a photograph is just as important when creating art as the first two stages of the process. We should consider all three as vital to the process.

Let’s consider some of the following photo printing mediums and the effect they can have on your work. The same photograph print on two different types of photo printing mediums can have a totally different look.

Luster photo paper

Luster paper has a slight sheen to it. The paper is similar to the idea of semi-gloss paint. Luster paper is easy to find in standard photo printing locations. The paper will produce beautiful colors, and it’s cost-effective. There is a subtle texture to the paper, and when framed, there’s less glare.

These factors are important when considering the look you want to create. Luster works well for portraits. Quite often family and wedding photographers recommend it to clients.

Glossy photo paper

Glossy used to be the go-to photo paper. Most of the photographs around my parent’s house are printed on glossy paper. Glossy tends to produce colors that are richer than luster. The details are also very sharp. In general, the image feels bright.

Many people don’t like the glossy feel of the paper. The sheen, depending on the angle can make it hard to see the photograph. Glossy also has a tendency to show scratches.

For family photos like this one, I usually recommend a luster or matte paper.

Matte photo paper

Matte paper has no sheen. The look is flat. That’s not to mean it’s boring. Matte paper can be very beautiful. It tends to create a somewhat softer look. Prints on matte paper tend to age better than those on luster and glossy paper, and the paper doesn’t show fingerprints the way glossy products will. You can also get some very beautiful prints from matte papers.

Uses for these papers

These papers tend to be used for nature photography, portraits, and weddings. Some photographers also use them for art prints. It’s important to consider the effect you want to create.

As an example, I printed the image below on a glossy paper. The fabric of these ribbon skirt has a natural sheen to it. If I had used a paper with no sheen I would have lost this element, and I wanted to represent the skirt as accurately as possible.

If you notice the sheen on the fabric you’ll see why I specifically chose gloss paper for printing.

Textured art paper

I will admit that textured papers are my favorite type to use when printing art photographs. I love the effect the paper creates. My favorite brand is Epson Cold Press Natural, but there are many available. A little experimentation will help you find your favorite.

Epson Cold Press is a textured matte paper that feels similar to watercolor paper. It’s thick and it absorbs a lot of ink. This paper tends to evoke an emotional response from viewers. I know that sounds strange, but I find the colors richer, and they have more depth. As a result, people tend to be drawn to the work. People often ask how the colors in the work are so rich. Good quality paper really helps produce a striking image.

In the following photograph, you’ll notice the rich black background. Printing on this paper lets me lay down a lot of ink to create an intensity I wouldn’t be able to otherwise produce.

This still life was shot with a piece of black velvet in the background. The intense black is important to the composition.

Printing on wood

This is a unique process.

You’ll have to look online to find a company that prints right onto the wood. I’ve used Posterjack in the past.

I’ve used Posterjack to do wood prints.

The effect is interesting. The wood grain will show through your images. It’s a unique look that can elevate the right photograph to new levels. One artist used wood prints quite effectively for an exhibition. The exhibition focused on the destruction of the rainforest for the production of beef. He photographed cattle then used the wood prints to help emphasize his message. In this case, the wood medium added to his exhibition.

While you may not be creating an exhibition for a gallery, the medium could still enhance your photographs. The wood grain works nicely with nature images as well as something with a retro feel to it.

This image works well with the wood grain. Images with limited texture that needs boosting, also work printed on wood.

Acrylic prints

Beautiful rich colors with sharp details work brilliantly on acrylic.

The images will pop and get noticed by anyone who walks into the room. The downfall with acrylic is you have to be very careful – it’s easy to chip the corners on an acrylic print.

Acrylic works very well with images shot at night. The bright lights of a city set against a dark sky can be breathtaking in acrylic.

This image works so well on acrylic. The glossy nature brings out the intensity of the city lights.

Metal prints

Metal prints, when used with the right image, can create amazing, jaw-dropping images.

Wherever an image has pure white, the silver of the metal will show through.

When used with black and white images, this creates a very unique look. The image also feels very modern. Content like urban landscapes or abstracts of machinery looks striking on this type of media.

This image looks awesome on metal. The silver works so well and adds depth to the image.

In conclusion

There are loads of photography printing mediums out there for your photographs. I haven’t even mentioned canvas prints or printing on fabric. Both are pretty awesome options as well.

The reality is, the sky’s the limit.

It’s more important to consider what each medium could do for your work. You should also think about how the medium affects the look of your work. Do you want a retro feel? Maybe you want something muted and understated? Think of a photograph as something with its own unique voice. Let the image, and the message you want to convey, speak to you then consider how you can make the work shine. As I’m sure Yoda told Luke at some point in Starwars, “Choose wisely, have patience, the answer will come to you.”

Do you have any other photography printing mediums tips you’d like to share with us? Do so in the comments!

The post Try Out These Awesome Photography Printing Mediums for Fantastic-Looking Photos appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

Digital Photography School

October 14, 2019
Ricoh releases firmware version 1.30 for its GR III camera system
Ricoh has released a firmware update for its GR III camera that brings new and improved features to the compact camera.

Below is the changelog provided by Ricoh:

Add the following enhanced features
- For more details click here.
Improved Contents
- Improved the AF performance of [Macro Mode] in dark places and low contrast.
- Changed to take over as the initial value after the next time when developing with [JPEG Recorded Pixels] setting changed in RAW development.
- When preparing to shoot with the shutter button, change the point that the electronic level is hidden by the guide display.
- Improved stability for general performance.
You can download firmware version 1.30 via Ricoh’s support page for the GR III. To ensure the update goes well, format the SD card in-camera and use a fully-charged battery before applying the firmware.

Articles: Digital Photography Review (dpreview.com)
October 14, 2019
How to Use Photoshop Blending Modes for Fine Art Portraiture

The post How to Use Photoshop Blending Modes for Fine Art Portraiture appeared first on Digital Photography School. It was authored by Charlie Moss.

Layering images experimentally in photoshop can be an exciting way to bring a fine art feel to your photography. It is spontaneous and unpredictable, with different outcomes each time.

The layering technique I talk about in this article is a way you can explore and get inspired by the work of Victorian art photographers like Julia Margaret Cameron. They would have used long exposures because of the limitation of their cameras, which added a dream-like quality to their images.

Instead of long exposures, I have used multiple images shot of the same subject, layering them and using Photoshop blending modes. It gives a different kind of ethereal feeling to the images which you can use on any subject, not just portraits.

Start with a portrait

Your portrait doesn’t have to be sophisticated, but it should be able to be repeated over a dozen shots or so. I opted for simple natural window light, but there’s no reason why you couldn’t use flash instead.

The image I found worked best was one with strong colors and features with a simple background. I opted to take inspiration from Julia Margaret Cameron’s photography by using simple historical clothes, and an instantly recognizable prop.

You want to try to end up with a dozen or so slightly different images of your subject. Take far more images than you need so that you have lots of choices when it comes to selecting images for your layering effect.

Between each shot, ask your subject to move just a small amount – perhaps their head or their hands, but just a fraction. Try to avoid any dramatic pose changes.

Layering the images in Photoshop

When it comes to selecting images and editing them, there are many different software packages and options. I’m going to talk about how I use Lightroom Classic and Photoshop to achieve this effect. Even within these two software packages, there are other ways you can accomplish the same effect. As long as you end up with a photograph that you love, then you haven’t done anything wrong!

I start by importing my images into Lightroom Classic and then selecting the ten or so images that will make up the layers of my final image. At this point, I try to choose a ‘base’ image that will be at the bottom of the layer stack in Photoshop and will show through the strongest. Generally, this is my favorite image out of the set.

When you’ve got your images selected in Lightroom Classic in the Develop module, open the ‘Photo’ menu and select ‘Open as Layers in Photoshop.’

This will save you having to manually stack all of the images together. You’ll end up with a single file open in Photoshop with all of your selected images placed on layers.

The next stage is to place your ‘hero’ image (the one that you want to show through the most) at the bottom of the layer stack by dragging and dropping it. Then select all the layers above and reduce their opacity.

Playing with Photoshop Blending Modes

This is when it starts to get interesting. Playing with the different photoshop blending modes for the layers will give you all kinds of different results. Dark images will suit different blending modes to lighter images. You can check out a comprehensive guide to photoshop blending modes here!

You’ll want to turn down the opacity of the layers quite far so that the original ‘hero’ image shows though. The other layers should then become more of a fuzzy halo rather than a focal point for the shot.

Once you’ve found a blending mode and opacity that looks good, you can start to fine-tune the image.

Begin by identifying parts of the images that don’t really work, and work out which layer they’re on. Then create layer masks and use a black paintbrush to gently fade those unwanted parts away.

I decided to remove almost all of the layers from the face of my subject since it was a portrait, and I wanted to be able to see her clearly. I also took away some distracting echos of hands, which I felt made the final image stronger. Since you’re working using layer masks, you can always undo any of your choices at this stage – just simply paint over the bits you want to see again on the layer mask with a white paintbrush!

As you can see from my layer masks, they don’t have to be neat. Just use a fairly large brush with soft edges and a low opacity and you won’t be able to see the brushstrokes of your mask in the final image.

Finishing your image

Once you’re happy with the basic image you’ve achieved through layering, I’d suggest saving a copy of your work. Then you can experiment further with different techniques.

Once I’d saved my image in Photoshop, I closed it and went back to Lightroom Classic to work on the shot further. Here, I simply changed the toning of the image slightly with a preset and applied some sharpening to key areas of the picture.

The result was a warmth that always makes me think of Old Masters paintings in galleries. Together with the effect of the layers, it creates a rather painterly fine art image.

But, of course, there’s absolutely no harm in processing the same image in a different way. This is one of the reasons I love Lightroom Classic – you can create virtual copies of a single shot and work on them all differently!

This variation I processed in Nik Analog Efex Pro 2, which you can use straight from the Lightroom Classic interface in the same way that you can take photos to Photoshop. The software itself is very similar to Lightroom Classic with its adjustment panels on each side but instead specializes in replicating old film effects.

It is a great way to create an image that pays homage to the great Victorian art photographers.

You could get a similar effect by layering wet plate textures and dust and scratch layers in Photoshop before adding a black and white conversion.

There are many ways to get all these different effects – please try some and post your results in the comments. I’d love to see what you did with this technique and how you achieved it!

The post How to Use Photoshop Blending Modes for Fine Art Portraiture appeared first on Digital Photography School. It was authored by Charlie Moss.

Digital Photography School

October 14, 2019
Using Creative Zoo Photography for Awesome Animal Photos
The post Using Creative Zoo Photography for Awesome Animal Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Wildlife photographers are a dedicated bunch. They spend money to travel to exotic places, brave miserable conditions, deal with whatever light conditions are present at the time and then sometimes don’t even see the animals they came to photograph. Pandas in China, tigers in India, lions on the Serengeti, polar bears in the frozen Yukon or maybe gorillas in the Congo. You could spend a lifetime photographing wild animals in their native lands.

Bengal Bath – Photographed in the wilds of India or in a zoo? You tell me.

Or, you could take a cue from Simon and Garfunkel –

“Someone told me it’s all happening at the Zoo”

– “At the Zoo” – Paul Simon and Art Garfunkel

I’ll grant you, photographing a lion in the zoo doesn’t have the same thrill as being on safari. If you have the time and the money to do such things, by all means, go for it. For many of us though, the zoo offers a chance to photograph animals we’d never see otherwise and, using the tips we’re about to cover, you can still make some very nice images. You don’t have to tell your friends where you took them, right?

It’s hard to make a zoo photo look like it was taken in the wild with a chainlink fence in the background. Go with a wide aperture to throw the background out of focus if you can.

Challenges

In the bush, the challenges of photographing wildlife are likely finding the animal you’re seeking and, depending on the species, perhaps trying not to get eaten. At the zoo, there are cages, glass or at least barriers designed to separate you and the creatures. Safer, yes, but also a little frustrating when you’re trying to make a nice photo.

Let’s look at some workarounds for zoo photography.

Sometimes this is what you encounter when trying to do zoo photography. When the animal is right up against the wire, there’s not much you can do.

Get a little separation between the animal and the cage, get close to the wire, use a large aperture, and you can do this. This could probably be cleaned up further with the cloning tool in post-production.

Cages

Zoos are getting better at designing structures so that the animals aren’t always behind bars or chainlink fences, but sometimes you will still have to deal with this. If the animal is up close to the fence, you might have no choice but to include it in the shot.

But, if you can wait until the beast moves further away from the barrier, this trick can work. Get close to the fence if you can, then use a wide aperture. Zoom into and focus on the animal. You may find that the limited depth of field pretty much renders the fence as a blur, barely showing up at all. Often you can clean up what remains of the fence or bars when editing.

Having to work through the glass, the top image is straight out of the camera. But, with some editing, a pretty nice Panda Portrait results.

An aquarium is a zoo of sorts where all the animals will be behind glass. Note how I rescued the turtle image with editing and monochrome conversion.

Glass

Sometimes the barrier between you and the animal will be glass. You’ll have to deal with grime, scratches, and reflections. Carry a cloth in your bag when you go to the zoo and clean a spot on the glass where you’ll be shooting. Get as close to the glass as you can, again with a wide aperture to help blur any scratches. If reflections are a problem, consider throwing a jacket or cloth over your head or perhaps just the camera to help eliminate them. Later in editing, the dehaze tool can be your friend with photos made through glass.

Distance

Many times I’m glad there’s some distance between the animal I’m photographing and I. (The Komodo dragon was a scary guy for sure!). The difficulty becomes making the animal in your photo more than just a speck in the shot.

You’ll have even more difficulty with this if you’re visiting a wild animal park where instead of the animals being in smaller cages or enclosures, they roam a wide area, and you drive through the park on a tour bus. There’s only one solution here – longer telephoto lenses.

More about lenses in a bit, just know that to get those nice portrait shots, you’re often going to need some bigger glass.

Frame tightly as you would with a human portrait, be sure the eyes are in focus and you’ll capture a more engaging image.

Backgrounds

Though you’ll be photographing animals at the zoo, you’d prefer to have your images look like they were taken in the wild. Your story about photographing zebra on the Serengeti plains will fall apart if there’s an obvious chainlink fence in the background. So, a couple of possible options here:
- Fill the frame with the animal, including as little of the background as possible in the shot.
- Zoom in and use a wide aperture so the background blurs.
- Consider your vantage point when composing your shot. Could you move a little to put natural vegetation, rocks, or something not manmade in the background to better simulate the animals’ natural habitat?
Watch, wait and be ready, and you can capture animals behaving as they do in the wild.

Capturing behavior

A photo of a lion just standing there might be okay, but a shot of a lion roaring…that’s the one you’d like. Images that capture animal behavior are the prize winners. The difference is waiting for the moment. Waiting, waiting, and perhaps waiting some more.

Perhaps you’re not up to being another Dian Fossey living with the mountain gorillas so you can get that unique photo.

Or there’s Guido Sterkendries, who spends weeks in the stifling heat of the Brazilian rainforest on a perch in the treetops to photograph poison dart frogs.

But, rather than just taking the minute or so the average zoo visitor views each exhibit, you might have to wait, watch, and be ready when the animal does something interesting. Also, watch for animal interactions and make photos that tell a story.

Mamas and babies can make good photos. Look for animal interactions that tell a story.

Set up, be ready, and perhaps have continuous mode and servo-focus activated. Then, when it happens and the subject does that intriguing behavior, fire off a burst of shots to guarantee you’ve got that one really great shot.

After all, would you rather go home with a boring photo of every animal in the zoo or just one superb shot of one animal engaging in some really interesting behavior?

When to go

Sometimes you get to a particular animal exhibit at the zoo and the animal is nowhere to be seen. Or maybe he’s over in the corner, zonked out and sleeping – hardly a great photo subject.

Often the trick is to go early in the morning or late in the afternoon when it’s cooler, and the animals are apt to be more active.

Photographers are also quite familiar with the “golden hour.” Not only will the light be better during these times, but the animal’s up, about, and ready for their closeup. Feeding time can also provide some action.

If you can, talk with the zookeepers to find out the best time to come, especially if you have your sights set on shots of particular animals. They will be a great source of information.

Including people

Sometimes the action at the zoo can be on the other side of the cages, the antics of people reacting to or aping for the animals. Keep an eye out for these kinds of behaviors too. Sometimes people are the funniest animals.

Equipment

If you’re going to spend a day at the zoo, you may not want to bring your whole photo kit. Firstly, it’s not much fun schlepping it around. Secondly, while you’re intent on making a shot, an unscrupulous bandit could help themselves to some of your gear. Thirdly, you really don’t need that much for zoo photography.

Here are some things you might want:

Camera

Something with the ability to go manual if necessary and, of course, shooting Raw is almost always better.

A Canon 100-400 zoom was a great lens to have to allow these bird portraits. Wildlife photographers use long lenses and at the zoo, they can help too.

Lenses

You might very well be able to get by with a good wide-range telephoto for zoo photography. Something like a 70-200mm, or if you have something longer like a 70-300 or 100-400, better still.

You’re not apt to need a wide-angle lens at all.

The only other possibility is for zoos that have a butterfly exhibit where a macro could be useful. One or two lenses should have you covered.

Sometimes zoos will have a butterfly exhibit. If where you’re going has one, take a macro lens.

Tripod

You may find that some zoos prohibit tripods, so it would be a good idea to check before you go. A monopod can be a good substitute.

Flash

Probably not. Again, some zoos will prohibit them, they spook the animals, and you’re not apt to want a “flash look” anyway.

Polarizing filter

This can be a good idea. The fur of many animals is shiny and a polarizer can help tame that, also giving you richer colors.

Cloth

Cloth is great for cleaning the glass on animal enclosures that use that.

Settings

You will encounter a variety of lighting situations at the zoo, from dark animals lying in the shade to light animals in the sun, to the dreaded speckled light situation.

Some animals may barely move while others may leap wildly about.

There’s no substitute for knowing your camera and how to deal with varied conditions. Often going fully manual, both for exposure and focus will be your best option.

Fences or glass in the foreground can too easily fool the autofocus, so be careful there.

Some zoos will have a walk-in aviary. If so, it’s a great opportunity for bird photography. Again, have a long lens and if you’ll be handholding the camera, keep the shutter speed high.

In general, a wide aperture to blur the background, coupled with a fast shutter speed to freeze any animal movement, is good. You may also be dealing with a long focal length, and having to handhold is a recipe for camera shake/blur.

Try to keep the shutter speed as fast as possible. Also, keep the ISO low to minimize noise. In varied lighting conditions, you may also want to consider Auto ISO if you understand how it works with your particular camera.

Continuous mode can be a good option so that when an animal does something interesting, you can fire a burst of shots, helping guarantee you capture the moment.

Composition

If there’s any mistake I see beginners making, it’s not filling the frame with their subject. Of course, not every shot needs to be a tightly cropped “portrait,” but the problem comes in when the subject in the image is so small it’s barely identifiable. Alternatively, the shot is so cluttered with other things that one questions what the real subject is. This is where a long lens can help with zoo photography.

Real wildlife photographers must sneak up on their subjects in places where enclosures don’t restrict the animals. So, often they will use – really – long, (and really expensive), glass. You need not go to that extreme, but you do want to make the animal in your shot the star, so frame accordingly.

The eyes have it. You can have parts of the animal out of focus if you must, but the eyes need to be sharp.

As when making portraits of people, when photographing animals, keep the eyes in sharp focus. Having other parts of the animal out of focus or a very limited depth-of-field is forgivable, but if the eyes are not in focus, the shot is probably a candidate for the delete button.

Use manual focus or learn you use your focus points to force focus on the animal’s eyes. Simply using the default center-focus point will likely fail you almost every time. Be the master of your camera’s focus.

This is a tricky one because enclosures, cages, and places where the animal will be won’t always allow this, but where possible, try to get on the same level as the animal. Looking down on the subject just won’t be as impressive. Perhaps you’ll have to put your camera on the ground or use something like a Gorillapod, (appropriate for the zoo, yes?) but do what’s needed to improve your shot.

This could have been even better if I could have got down at the same level as the beast. Then again…

Editing

As with any photo editing, you want to use the tools and tricks in your editing program to improve your shot. Always consider whether a crop may help eliminate distractions or better highlight the animal. Use the exposure, highlights, shadows, whites, and blacks sliders (if editing with Lightroom), to bring out the color and detail of the animal.

The Dehaze option may help, especially where you made a photo through a glass enclosure.

The new Texture slider can also work wonders, bringing out details in an animal’s fur.

Monochrome can give a classy look and in the case of this cheetah, emphasize his spotted camouflage in his environment.

Don’t forget to take a look at going monochrome with some of your images. Sometimes a black and white version of an animal image can be especially striking.

Go zoo it!

So grab your gear and get down to your nearest zoo. You’ll have a great time, get some nice images, and if the song is right, “the animals will love it if you do.”

Do you have any other zoo photography tips? Share with us in the comments! Also, share with us your zoo photography photos.

The post Using Creative Zoo Photography for Awesome Animal Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Digital Photography School
October 13, 2019
Fujifilm X-A7 pre-production sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8121618905″,”galleryId”:”8121618905″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

We’ve already posted a collection of photos from the entry-level Fujifilm X-A7 shot by our friends at DPReview TV, and now we’ve got a gallery of our own. Keep in mind that these were taken with a pre-production X-A7, so image quality may not be final.

Articles: Digital Photography Review (dpreview.com)

October 13, 2019

Nikkor Z 58mm F0.95 Noct will arrive at the end of the month for $8000

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3198595861″,”galleryId”:”3198595861″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Nikon has been teasing the release of the Z-mount 58mm F0.95 Noct for as long as the full-frame Z system has been known to the public. Since then it’s been seen in development announcements, on roadmaps and behind glass, but today is the first time its full specifications (not to mention a price) have been released to the public.

Its F0.95 maximum aperture makes this the fastest Nikkor lens ever made. It comprises 17 elements in 10 groups; three aspherical elements are included, one of which is ‘large diameter’. Nano Crystal coating helps control flare and ghosting from light entering the lens at diagonal angles, while Nikon’s newer Arneo coating has been added to deal with incident light entering the lens vertically.

Living up to its name, the Noct has been designed with night photography in mind. Nikon says that the lens will reproduce point light sources faithfully across the entire frame, without the smearing effects of sagittal coma flare.

Official Nikkor Z 58mm F0.95 S Noct sample images

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4787409635″,”galleryId”:”4787409635″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

All of that glass contributes to making the Noct a very hefty lens. It weighs 4.4lb / 2,000g and measures 102 x 153mm (4.01 x 6.02 in). The top of the lens barrel features a small display that can display focus distance, aperture and depth-of-field, plus a customizable control ring that offers quick access to aperture or exposure compensation – both features it shares with other current S-series lenses.

The Nikkor Z 58mm F0.95 Noct will cost $ 8000 and will ship later this month on October 31st.

A COVETED CLASSIC REBORN AS A MODERN MASTERPIECE: NIKON RELEASES THE FASTEST NIKKOR LENS EVER CREATED, THE NIKKOR Z 58MM f/0.95 S NOCT

Nikon Also Announces the New MB-N10 Battery Pack: Enhances Battery Life and Adds Additional Grip for Nikon Z 7 and Z 6 Users

MELVILLE, NY (October 10, 2019 at 12:01 AM EDT) – Today, Nikon Inc. announced the fastest NIKKOR lens ever made, the new NIKKOR Z 58mm f/0.95 S Noct lens. The 58mm Noct is a one-of-a-kind lens that pays homage to the extraordinary optical legacy that the previous Noct-NIKKOR 58mm f/1.2 lens established, while demonstrating the superiority and potential of the Nikon Z Mount. Created for the most discerning photographers, the new Noct lens is an exclusively manual focus prime lens with an incredible maximum aperture of f/0.95 for a truly dramatic depth of field and next-level low light performance.

The NIKKOR Z 58mm f/0.95 S Noct is in a class of its own, offering low light ability and extreme sharpness that excels in the hands of a capable creator. From stunning portraits to landscapes or astrophotography, all images are rendered beautifully thanks to its vast depth-of field control, seductive bokeh and superb point-image reproduction.

“This is why the Z mount was created. The Noct is a testament to Nikon’s commitment to optical innovation driven by more than a century of expertise,” said Jay Vannatter, Executive Vice President, Nikon Inc. “We promised a new dimension of optical performance for the Nikon Z series and NIKKOR Z lens lineup, and by announcing our fastest NIKKOR lens ever made, the NIKKOR Z 58mm f/0.95 S Noct, we are making this claim a reality.”

THE NEWEST ADDITION TO S-LINE OF NIKKOR Z LENSES
The NIKKOR Z 58mm f/0.95 S Noct joins as the apex to the ever-expanding series of S-Line lenses, which also includes the recently announced NIKKOR Z 24mm f/1.8 S and NIKKOR Z 85mm f/1.8 S, all hailed for their sharpness and optical performance.

A LEGENDARY LENS REBORN
The original Noct-NIKKOR 58mm f/1.2 was released in 1977, its name said to be derived from “Nocturne.” Made for nighttime photography, this lens became renowned for its ability to reproduce point light sources as point images. The design of the new Noct lens evolves with the most advanced optical technology for photographers and videographers, boasting an immense f/0.95 maximum aperture, staggering low light ability and enticing bokeh characteristics.

The NIKKOR Z 58mm f/0.95 S Noct implores an extensive depth of field, producing elaborate bokeh and blur characteristics with good continuity for more compelling, three-dimensional imaging. Even when the distance between the subject and the background are insufficient, the new 58mm Noct lens can still capture sharp images with beautiful background blur due to the reproduction of an extremely sharp focus plane and vast shallow depth of field. Additionally, shooting point light sources at maximum aperture would normally produce sagittal coma flare. However, with the new Noct lens the causes of sagittal coma flare are eliminated across the entire frame with point light sources being reproduced as tack-sharp point images even at the peripheries, for clear and crisp night landscapes and astronomical shots.

A lens like the new NIKKOR Z 58mm f/0.95 S Noct is possible today because of the large Z mount, which allows for more light capture and faster data sharing between lens and camera, as well as improved flexibility for lens optics and design. The new Noct lens also boasts a large-diameter ground aspherical lens element crafted from the finest glass with outstanding surface accuracy, providing a higher refractive index that would otherwise be unobtainable. This pro-level lens is constructed with an optical formula consisting of 17 elements in 10 groups, ensuring a well-balanced lens that delivers incredibly sharp results.

Like the NIKKOR Z 24-70mm f/2.8 S lens announced earlier this year, the NIKKOR Z 58mm f/0.95 S Noct lens includes an ARNEO Coat, which provides anti-reflection performance to combat incident light reaching the lens surface from a vertical direction. Alongside the Nano Crystal Coat, which effectively reduces incident light from a diagonal direction, the new Noct lens can capture clear and sharp content with minimal ghosting and flare effects across a wide variety of backlit situations that are normally challenging. Additionally, the NIKKOR Z 58mm f/0.95 S Noct includes a lens information panel allowing photographers and videographers to confirm aperture, focus distance and depth of field at a glance. Users will also enjoy the increased number of functions that can be assigned to the lens Fn button, matching the Fn1/Fn2 buttons on both the Z 7 and Z 6 cameras. Additionally, an electromagnetic diaphragm mechanism is incorporated, providing stable aperture control even during continuous shooting. The fluorine coat of the new Noct lens acts as a dust, dirt and moisture repellent coating.

In addition to the refined and durable exterior design, the NIKKOR Z 58mm f/0.95 S Noct offers excellent operability and a feeling of precision in hand. The focus ring enables accurate manual focusing, allowing for the appropriate amount of torque and a large rotation angle, even for the extremely shallow depth of field afforded at f/0.95. The new Noct lens also adopts a control ring, where functions like aperture setting, and exposure compensation can be assigned. Furthermore, the inside of the lens hood is felt-lined, delivering clear rendering by effectively preventing light reflection inside the hood.

THE NEW MB-N10 BATTERY PACK FOR THE NIKON Z 7 AND Z 6
The new MB-N10 battery power pack is an optional accessory for both the Nikon Z 7 and Z 6. The battery pack significantly enhances battery life and adds an additional hand hold, providing photographers and videographers even more freedom and comfort when using the Z 7 and Z 6. The battery pack is designed to hold two EN-EL15b batteries (sold separately), effectively increasing the number of shots possible and movie recording time by approximately 1.8X, based on CIPA standards. The MB-N10 offers the same weather sealing and modern design of the Z 7 and Z 6, plus it will support USB charging.

Price and Availability
The NIKKOR Z 58mm f/0.95 S Noct lens will be available October 31, 2019 at a suggested retail price (SRP) of $ 7999.95* and will come with a special premium custom padded case (Trunk Case CT-101), in addition to the HN-38 Hood. The new MB-N10 battery power pack will be available in November 2019, for an SRP of $ 199.95*. For more information on the latest Nikon products, including the new NIKKOR Z 58mm f/0.95 S Noct lens and MB-N10 battery power pack as well as the full Nikon Z mount system, please visit?www.nikonusa.com.

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

Nikkor Z 58mm F0.95 S Noct specifications

Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	58 mm
Image stabilization	No
Lens mount	Nikon Z
Aperture
Maximum aperture	F1
Minimum aperture	F16
Aperture ring	Yes
Number of diaphragm blades	11
Optics
Elements	17
Groups	10
Special elements / coatings	4 ED + 3 aspherical elements, Nano Crystal + ARNEO + Super Integrated coatings
Focus
Minimum focus	0.50 m (19.69″)
Maximum magnification	0.19×
Autofocus	No
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	Yes
Physical
Weight	2000 g (4.41 lb)
Diameter	102 mm (4.02″)
Length	153 mm (6.02″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Filter thread	82 mm
Hood supplied	Yes
Tripod collar	Yes
Other
Notes	Has a small LCD display that shows focus distance, aperture and more.

Articles: Digital Photography Review (dpreview.com)

October 13, 2019

Nikon introduces the Z50, a DX-format mirrorless camera for Z-mount

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8305856930″,”galleryId”:”8305856930″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Nikon has announced the first DX-format camera to use the Z-mount: the Z50. The Z50 features a 21MP BSI CMOS APS-C sensor (similar to what’s on the D500) with on-sensor phase detection. Unlike the Z6 and Z7, the Z50 does not have in-body image stabilization.

Despite being a smaller and lighter camera than the Z6/Z7, the Z50 doesn’t feel cheap, and is weather-sealed to some degree. It has a downward-tilting 3.2″ touchscreen display, 2.36M-dot OLED EVF and pop-up flash. Its single SD card slot supports high-speed UHS-II media while its Micro USB port allows for in-camera battery charging. The Z50 uses the new EN-EL25 battery, with an estimated battery life of around 300 shots per charge.

The Z50 is capable of shooting bursts at 11 fps with continuous AF. It can capture UHD 4K video at 24p and 30p, and a 120 fps option is available if you drop the resolution to Full HD. While the Z50 has a mic input, it lacks a headphone socket.

The Z50 with its 16-50mm F3.5-6.3 VR kit lens

Along with the Z50 come two new kit lenses. First is the collapsible Nikkor Z DX 16-50mm F3.5-6.3 VR, which offers up to 4.5 stops of image stabilization and has a built-in control ring. For longer reach, there’s the Nikkor Z DX 50-250mm F4.5-6.3 VR, which offers 5 stops of shake reduction and also has a control ring.

The Z50 will be available in November for $ 859 body-only, $ 999 with the 16-50mm lens and $ 1349 with the 16-50mm and 50-250mm lenses. Both kit lenses will be available separately, with the 16-50 priced at $ 299 and the 50-250 at $ 349.

See all of our Nikon Z50 content

Press Release

A BIGGER MOUNT TO SHARE THE BOLDEST IDEAS: IT’S EASY TO TAKE CREATIVITY FURTHER WITH THE LIGHTWEIGHT NIKON Z 50 MIRRORLESS CAMERA

Nikon Also Announces the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR, Two New Lenses That Deliver Incredible Image Quality and Outstanding Portability

MELVILLE, NY (October 10, 2019 at 12:01 A.M. EDT) – Today, Nikon Inc. announced the next Z series mirrorless camera, the DX-format Nikon Z 50, along with two new companion NIKKOR Z lenses, the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR. The new Nikon Z 50 takes full advantage of Nikon’s larger Z mount, providing creators of all types with the most innovative optical system for superior image and video quality. The compact and lightweight Nikon Z 50 was made for unique individuals seeking a camera that has the speed, portability and style to keep pace and share their creative storytelling and imagination, especially when paired with the new ultra-compact 16-50mm zoom and the slim 50-250mm telephoto zoom lenses.

“The new Nikon Z 50 is a small yet capable camera that brings the best of the Nikon Z series to all kinds of creators to discover, share and engage,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The new NIKKOR Z DX lenses expands the Nikon Z series to provide new creative tools for those looking to take their photo and video passions to new heights.”

When a sudden case of jet-set wanderlust strikes, or if there’s an idea that just has to be shared in 4K video, the Nikon Z 50 is the unobtrusive companion that promises to help deliver content that truly stands out. This is Nikon’s first DX-format mirrorless camera, delivering a more compact lightweight system to those upgrading to mirrorless or discovering the Nikon Z mount system. The new Z 50 offers an ergonomic design, intuitive operability and the steadfast reliability Nikon is known for, but in a slimmer, lightweight and attainable body. Taking advantage of the Nikon Z mount, the Z 50 produces stunning image quality and provides optimal performance for any type of content creation, from still photography to high-quality 4K video.

SMALL ON SIZE, BIG ON FUN: The easy-to-carry, compact and lightweight 14-oz body of the Nikon Z 50 is designed with intuitive controls and an agile yet durable magnesium alloy frame. It’s effortless to carry while vlogging a vacation, hiking the backcountry or exploring a new part of town. Since it’s mirrorless, users can activate the silent shutter function for truly low-profile shooting in sensitive situations.

TELL YOUR STORY, BEAUTIFULLY: A DX-format 20.9-megapixel CMOS sensor delivers superior image quality, sharpness, color and tones to document it all, even in low light. The EXPEED 6 image-processing engine helps to achieve excellent low-light performance and the highest standard sensitivity in its class¹for still-image shooting – ISO 51,200 – so users can capture high-resolution photos in challenging lighting conditions, like concerts or night street photography.

HIGH-SPEED PERFORMANCE: The camera quickly locks focus with a 209-point Hybrid AF System that enables broad coverage of approximately 87% of the frame horizontally and 85% vertically. It’s also the first Nikon DX-format camera to employ Eye-Detection AF, which makes portrait photography simple by recognizing and instantly focusing on a subject’s eyes, even if they are moving. What’s more, with fast 11 fps (with AF/AE) continuous shooting, users can keep up with fleeting moments and never miss a moment of the action.

FLIP-DOWN SELFIE SCREEN: The Nikon Z 50 features an easy to use interface with a 3.2-inch flip-down LCD touchscreen that’s ideal for selfies and vlogging. The LCD features familiar soft keys and icons, while intuitive controls make storytelling simple. Selfie Mode automatically disables all but essential controls while the LCD is flipped down, which makes it easy for the photographer to turn the camera on themselves and capture flattering photos and videos without worry of accidentally changing settings.

EPIC VIDEO FEATURES AND NEW CREATIVE OPTIONS: Sharp, vibrant 4K video is just the beginning – Experience built in 120p slow-motion, time-lapse and interval timer as well as in-camera video trimming and 20 Creative Picture Controls. These Creative Picture Controls and Special Effect modes instantly transform an image or video footage, while Scene Modes automatically adjust settings to optimize performance for beginners. For smooth footage, the camera also incorporates additional built in stabilization while shooting Full HD or 4K video.

SHARE BETTER CONTENT, INSTANTLY: Built-in Wi-Fi® and Bluetooth connectivity along with support for the new SnapBridge² version 2.6 app allows users to seamlessly share still images and videos with friends, families and followers. In addition to automatically sending gorgeous images to one’s phone, users now also have the ability to easily transfer video to their smart device quickly. The latest version of SnapBridge also supports RAW image transfer and advanced remote capture functions.

THE NIKKOR Z DX 16-50mm f/3.5-6.3 VR & NIKKOR Z DX 50-250mm f/4.5-6.3 VR – NEXT GENERATION DX-FORMAT NIKKOR LENSES

The new NIKKOR Z DX 16-50mm standard zoom and the NIKKOR Z DX 50-250mm telephoto zoom lenses are designed to complement the new Z 50, striking the balance of small size and sharp optics. The NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens is a slim zoom lens that lets users capture a wide variety of scenes, from beautiful landscapes to candid portraits. The compact telephoto NIKKOR Z DX 50-250mm f/4.5-6.3 VR lens allows anyone to go the extra distance and capture far-away subjects, like city skylines or birds in flight. When paired with the new lenses, Dual Detect Optical VR is enabled on the Z 50 to help control the effects of camera shake when shooting.

Both the new NIKKOR Z DX lenses unleash the potential of the Nikon Z mount, using the superior design flexibility made possible by the large-diameter and the 16mm flange focal distance to deliver outstanding optical performance and sharpness in a deceptively compact form factor.

In addition to achieving incredible image quality, the new NIKKOR Z DX lenses are optimized for video capture when paired with the Z 50, making them must-haves for emerging content creators. Both lenses promise reduced focus breathing, a customizable control ring for smooth control of aperture or exposure compensation, as well as fast and quiet operation. Additionally, the new lenses offer in-lens optical Vibration Reduction (VR) technology to allow for smooth recording, with camera shake compensation equivalent to 4.5 stops³ and 5.0 stops³, respectively.

Beyond these two new lenses, Nikon Z 50 users can enjoy greater variety in imaging expression by mounting any of the current lenses in the NIKKOR Z lineup. A vast selection of traditional F-Mount NIKKOR lenses is also available to shooters via the Mount Adapter FTZ, with many lenses retaining functions such as VR and AF.

Price and Availability

The Nikon Z 50 will be available in November 2019, in several configurations including body-only for a suggested retail price (SRP) of $ 859.95*, a one-lens kit with the NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens for a SRP of $ 999.95* or a two-lens kit with both the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR lenses for a SRP of $ 1349.95.

For more information on the latest Nikon products, including the new Nikon Z 50, NIKKOR Z DX 16-50mm f/3.5-6.3 VR, NIKKOR Z DX 50-250mm f/4.5-6.3 VR and the full Nikon Z mount system, please visit www.nikonusa.com.

The maximum sensitivity available with movie recording is ISO 25600.
For information regarding smart device compatibility and to download the appropriate app for the Nikon cameras with Wi-Fi capability built-in, NFC capability built-in, and/or Bluetooth capability built-in, please visit nikonsnapbridge.com. Please Note: Nikon cameras having Bluetooth built-in can only be used with a compatible smart device with Bluetooth 4.0 or later (i.e., a smart device that supports Bluetooth Smart Ready/Low Energy).
Measured in accordance with CIPA standards. When a mirrorless camera equipped with an APS-C size image sensor is used. Measured at the maximum telephoto position.

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

Nikon Z50 specifications

Price
MSRP	$ 859 (body), $ 999 (w/16-50mm lens), $ 1349 (w/16-50 and 20-250mm lenses)
Body type
Body type	SLR-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	5568 x 3712
Image ratio w:h	1:1, 3:2, 16:9
Effective pixels	21 megapixels
Sensor photo detectors	22 megapixels
Sensor size	APS-C (23.5 x 15.7 mm)
Sensor type	CMOS
Processor	Expeed 6
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-51200 (expands to 204,800)
Boosted ISO (maximum)	204800
Custom white balance	Yes
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, normal, basic
File format	JPEG (Exif v2.31) Raw (NEF, 12/14-bit)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	209
Lens mount	Nikon Z
Focal length multiplier	1.5×
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3.2″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	1.02× (0.68× 35mm equiv.)
Viewfinder resolution	2,360,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Scene modes	"Autumn Colors Beach / Snow Blossom Candlelight Child Close-up Dusk/Dawn Food Landscape Night Landscape Night Portrait Party/Indoor Pet Portrait Portrait Sports Sunset Special Effect Modes
Built-in flash	Yes
Flash range	7.00 m (at ISO 100)
External flash	Yes (via hot shoe)
Flash X sync speed	1/200 sec
Drive modes	Single Low-speed continuous High-speed continuous Self-timer
Continuous drive	11.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Highlight-weighted Spot
Exposure compensation	±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV steps)
WB Bracketing	Yes
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p, MOV, H.264, Linear PCM 3840 x 2160 @ 25p, MOV, H.264, Linear PCM 3840 x 2160 @ 24p, MOV, H.264, Linear PCM 1920 x 1080 @ 120p, MOV, H.264, Linear PCM 1920 x 1080 @ 100p, MOV, H.264, Linear PCM 1920 x 1080 @ 60p, MOV, H.264, Linear PCM 1920 x 1080 @ 50p, MOV, H.264, Linear PCM 1920 x 1080 @ 30p, MOV, H.264, Linear PCM 1920 x 1080 @ 25p, MOV, H.264, Linear PCM 1920 x 1080 @ 24p, MOV, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-II supported)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
USB charging	Yes
HDMI	Yes (micro HDMI)
Microphone port	Yes
Headphone port	No
Wireless	Built-In
Wireless notes	802.11ac + Bluetooth
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	Yes
Battery	Built-in
Battery description	EN-EL25 lithium-ion battery & charger
Battery Life (CIPA)	320
Weight (inc. batteries)	450 g (0.99 lb / 15.87 oz)
Dimensions	127 x 94 x 60 mm (5 x 3.7 x 2.36″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Nikon Nikkor Z DX 16-50mm F3.5-6.3 VR / 50-250mm F4.5-6.3 VR specifications

	Nikon Nikkor Z DX 16-50mm F3.5-6.3 VR	Nikon Nikkor Z DX 50-250mm F4.5-6.3 VR
Principal specifications
Lens type	Zoom lens
Max Format size	APS-C / DX
Focal length	16–50 mm	50–250 mm
Image stabilization	Yes
CIPA Image stabilization rating	4.5 stop(s)	5 stop(s)
Lens mount	Nikon Z
Aperture
Maximum aperture	F3.5–6.3	F4.5–6.3
Minimum aperture	F16
Aperture ring	No
Number of diaphragm blades	7
Optics
Elements	9	16
Groups	7	12
Special elements / coatings	1 ED + 4 aspherical elements, Super Integrating Coating	1 ED element, Super Integrated Coating
Focus
Minimum focus	0.20 m (7.87″)	0.50 m (19.69″)
Maximum magnification	0.2×	0.23×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	No
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	135 g (0.30 lb)	405 g (0.89 lb)
Diameter	70 mm (2.76″)	74 mm (2.91″)
Length	32 mm (1.26″)	110 mm (4.33″)
Sealing	No
Colour	Black
Zoom method	Rotary (extending)
Filter thread	46 mm	62 mm
Hood supplied	No
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

October 13, 2019

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Announced as a development way back in August last year, the Z 58mm 0.95 ‘Noct’ is Nikon’s fastest ever lens, described by the company as a no-compromise flagship prime designed for optimum image quality, to take full advantage of the new Z mount. Like ‘a well-tempered Japanese sword’. as one promotional pamphlet put it, and priced to match, at an MSRP of $ 7999.99.

Nikon has shown mockups of the Noct at several tradeshows over the past 12 months, but it was only recently that we got our hands on a working sample of the lens – albeit a pre-production copy. We’re still waiting for a reviewable lens, so you won’t find any shots of Seattle in this article, but click through to learn a little more about Nikon’s most expensive and undoubtedly most impressive Z-series prime.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

First things first, this is a big lens. At fifteen centimeters (six inches) in length and ten centimeters (4 inches) in diameter, the Noct dwarfs the body of the Z6/7. Weighing in at 2 kilos (4lb, 7oz) it’s heavy, too. So heavy in fact that Nikon has included an integral tripod foot, on a locking ring around the barrel.

While the weight of the lens didn’t threaten to pull the mount off our Z7 during normal handling, it’s not a combination suited to single-handed shooting. This image also shows the screw-in hood, which is lined with felt.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Here’s a closeup view of the barrel of the Noct, showing the L-Fn and ‘DISP’ buttons, which operate in the same ways as those buttons on the Z 24-70mm F2.8 S (L-Fn can be configured in exactly the same way as the equivalent controls on Z-series camera bodies).

The control ring to the right works in the same way as other Nikon Z lenses too, and can be configured to do various things (i.e. to provide direct control over aperture or exposure compensation). On the left of this image you’ll see the enormous manual focus ring, which makes up almost half the total length of the lens.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Since the Noct is a manual focus lens, it was important that Nikon got the feel of the focus ring exactly right.

The pre-production copy we were using had small ‘detents’ at various positions across its focus range, but we understand that these will not be present in final lenses, leaving the ring travel free and smooth. The throw of the mechanical (note: not focus by wire) focus ring is enormous (around 350 degrees), allowing for minute adjustments to focal position. The focus ring is easy to grip, being knurled with finely-machined grooves running down almost its entire length.

Despite the super-sized focus ring and large barrel diameter, the filter thread is a relatively modest 82mm.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Like the Z 24-70mm F2.8 S, the Noct features a small display on the top of its barrel, which can be configured to show either the precise hyperfocal distance at the shooting aperture (shown above) or the shooting aperture itself. Minimum focus is 0.5m (1.6 ft) which equates to a maximum magnification ratio of 0.194X.

Being a digital display means the depth-of-field markings are able to adjust in response to the aperture being changed.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Optically, the Noct is something quite special. Consisting of seventeen elements in ten groups, Nikon’s optical engineers have included three aspherical elements in this formulation, and four ED (extra low-dispersion) elements.

In addition to Nikon’s now-familiar Nano Crystal coating, the Noct also features the new ARNEO coating (also seen in the Z 24-70mm F2.8 S) for addition control of flare and ghosting.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Image supplied by Nikon, shot on the new Z Noct-Nikkor 58mm F0.95.

The original Noct-Nikkor 58mm F1.2 was released in the late 1970s (not coincidentally, the development of this version was announced on its 40 year anniversary) as a high-priced, very specialized lens, designed to accurately render point light sources across the frame when shot wide open (‘Noct’ denoting to its expected nighttime applications).

The original Noct contained seven glass elements, and weighed a little under 500g. Compare that to the 17 elements of the new Z version, which tips the scales at a fraction over 2000g.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

As you can see in the image above, this is not your average standard prime.

Faster and more expensive than its 1970s forebear (faster and more expensive than almost any lens, in fact) and designed from the outset for high resolution digital imaging, the Z Noct is a lens that that will be made and sold in very small numbers but which Nikon hopes will be a benchmark for a long time.

In the meantime, we’re hoping to get hold of a final copy soon, and we’ll share sample images as soon as we can. For now, start saving up your pennies and let us know what you think about it in the comments.

Articles: Digital Photography Review (dpreview.com)

October 13, 2019
Best easy-to-use cameras of 2019
If you want a camera that you can pick up and use without having to page through the manual first, then this guide is for you. Some of the cameras in this guide have robust auto modes that let you ‘set it and forget it’, while others have clever interfaces to translate more complex subjects into easily comprehensible language, often with visual guides.

We’ve included cameras in various classes (and thus prices) in this guide, from compacts costing a few hundred dollars to a full-frame model that will produce much higher quality images but sells for around $ 1300. Read on to see what we think is the most user-friendly camera on the market.

Our pick: Canon EOS Rebel SL3 (EOS 250D)

The Canon SL3 works perfectly well in its Auto (A+) mode, where it will select the correct settings for the detected scene, such as a sunset. It also gives you the opportunity to tinker with exposure and color settings using a clever interface known as Creative Assist. There, you can adjust things like background blur (AKA aperture), brightness and color saturation (helpfully illustrated with tulips).

When you switch into ‘regular’ exposure modes (like Program), the camera still provides visual aids showing the effect of changing things like aperture and shutter speed, but this time you actually see the values (such as the F-number) you’re adjusting. And this interface shows you how to operate the camera if you ever opt to remove the ‘training wheels.’

As a camera, the SL3 takes very good photos, uses Canon’s excellent Dual Pixel AF system for video and live view, and is as close to ‘pocketable’ as you’ll get on a DSLR.

While the Canon EOS Rebel SL3 (250D) was our winner, there are several other easy-to-use cameras that are also worth consideration. We’ve listed them all out below with detailed breakdowns of their features and performance:
- Our pick: Canon EOS Rebel SL3 (EOS 250D)
Also available:
- Canon EOS M200*
- Canon EOS RP
- Fujifilm X-A7*
- Nikon D3500*
- Olympus OM-D E-M10 III
- Sony a5100
* This camera has not yet been fully reviewed and is thus not eligible for an award.

Articles: Digital Photography Review (dpreview.com)
October 13, 2019

What the Z50 tells us about Nikon’s APS-C strategy

APS-C is a strange sensor format. Derived from the dimensions of the short-lived Advanced Photo System film negative, it emerged as the dominant format in the early days of the DSLR revolution largely because for many years, full-frame digital sensors weren’t a practical option in consumer-level cameras. Canon used the even more obscure APS-H format for a few generations of its sports-oriented EOS-1D series, but by 2012, full-frame was solidly (re)established as the ‘professional’ format for both of two biggest D/SLR manufacturers.

Given the inherent messiness of adapting film-era platforms to digital, it’s no surprise that the respective APS-C strategies of the major D/SLR manufacturers have seemed a little confused at times over the past couple of decades. Now though, with every one of them (except Pentax/Ricoh) either defunct or offering at least one mirrorless lens mount, we are officially, finally, in a post-film era. As such, you’d hope that the battle lines in the so-called ‘format war’ might have become a little clearer.

So what does the Z50 tell us about Nikon’s APS-C strategy?

Well, the first thing it tells us is that there actually is a strategy. Nikon clearly believes that right now, and for the foreseeable future, a market exists for cameras which do not contain full-frame sensors.

Here’s Naoki Kitaoka, Department Manager of the UX Planning Department in the Marketing Sector of Nikon’s Imaging Business Unit, in conversation with me back in March.

“Since we launched the Z series, our DX format DSLR users have been asking us to apply mirrorless technology to the DX format as well. If we employ APS-C sensors [in mirrorless] maybe the system can be made even smaller”

Boiled down, this translates to ‘our customers have been asking for mirrorless APS-C, and we may take that opportunity to create even smaller cameras’. These hints, plus the steady flow of rumors over the past few months, made the Z50 (or something like it) inevitable.

To dismiss DX format Z-mount at this stage is like deciding a TV show will never be good because you don’t like the pilot

My colleagues Richard and Carey probably speak for a lot of our readers when they say that on the face of it, the Z50 feels a little underwhelming, and I tend to agree with them. But we all know that one camera and a couple of kit lenses alone do not represent a fully executed plan. It would be silly to dismiss DX format Z-mount development at this stage – it’s rather like deciding a TV show will never be any good just because you don’t like the pilot.

The Z50 (L) shares a lot of its DNA with the full-frame Z6 (R), including a generous grip and twin-dial ergonomics. Its main differentiators compared to Nikon’s FX line are size, weight, accessibility and cost.

What future for enthusiast APS-C?

However, the fact that Nikon is pushing APS-C as ‘smaller’, and the fact that the Z50 isn’t launching with a fast prime lens or two is a pretty clear signal that – for now – the company would prefer enthusiasts and professionals to focus on its full-frame Z cameras. That doesn’t mean we won’t see (for example) a DX 23mm F1.4 at some point. I just think it’s unlikely to happen any time soon, and as per Nikon’s roadmap, definitely not in the next couple of years. If I were a betting man, I’d put money on Nikon’s next DX Z camera being a slimmed-down, cheaper version of the Z50.

In effect then, it looks like Nikon is doing with the Z mount what it has been doing with the F mount for the past ten years: Making APS-C products for beginners and hobbyists, and full-frame cameras for advanced enthusiasts and professionals. 1 For APS-C users that want to expand their creative horizons with additional, more serious lenses, they’ll have to invest in the FX lens lineup, and accept a 1.5X increase in effective focal length. Or, better yet, jump in with both feet and upgrade to a full-frame camera.

Exhibit A: Nikon’s spotty record when it comes to DX lens development for its F-mount DSLRs, which has seen only one dedicated DX prime (the Micro Nikkor 40mm 2.8) released in the past ten years.

Given the size and weight advantages bestowed by APS-C, manufacturers see more potential for entry-level users

Why this lack of dedicated DX lenses? The brutal fact is that most APS-C cameras that are sold are bundled with one lens – the kit zoom – and the majority of the people that buy them never add another lens to their collection. 2

There’s an argument to be made that this is a self-fulfilling prophesy – Nikon’s APS-C customers can’t very well buy lenses that don’t exist, can they? But look at the market as a whole – with a handful of honorable exceptions, there are very few high-quality lens options available for APS-C anywhere, including from third-parties.

The only manufacturer currently marketing a really convincing range of ‘professional’ APS-C products is Fujifilm. Skipping full-frame entirely, Fujifilm has focused on the strengths of the smaller format when it comes to speed and mobility, while its high-resolution medium format GF lineup caters to landscape and portrait professionals.

That doesn’t mean that enthusiast-focused APS-C systems are impossible (just look at Fujifilm) but it does help explain why the big hitters of the D/SLR era remain wary about spending a lot of money developing lenses optimized for this format.

Given the undeniable size and weight advantages bestowed by APS-C, manufacturers understandably see more potential here for attracting entry-level users, perhaps even first-time camera buyers upgrading from smartphones. Witness the Z50: A small stills/video camera, packed with Instagram-friendly filter effects, but versatile enough, and with a deep enough ergonomics to allow for creative growth.

What about Canon?

This is an article about Nikon, but I would like to briefly touch on Canon’s APS-C strategy. Here’s Canon, also speaking to us back in March, when we visited the CP+ tradeshow in Yokohama:

“We wanted to develop RF to its full potential, so we wanted the latest specifications, state-of-the art technology and design. In the process of developing a no-compromise system, it became apparent that this wouldn’t be compatible with EF-M.”

In short – when developing the RF system, Canon determined that any attempt to incorporate compatibility with EF-M would result in unacceptable compromises. Very likely, in other words, RF is full-frame only, now and forever.

Canon really doesn’t want you mounting an RF lens on an EOS M body, or putting an EF-S lens on a full-frame EOS DSLR

Whereas Nikon is now supporting, in effect, four lens lineups: Full-frame (FX) and APS-C (DX) for two systems, Canon’s four mounts (EF, EF-S, EF-M and RF) span three systems. Of those four flavors of lenses, only EF lenses can be used on all three mounts. An EF-S lens won’t go on a full-frame EOS body, an EF-M lens won’t go on a full-frame EOS or RF body, and an RF lens won’t go on an EOS or EOS M body.

On the face of it, that’s a muddle. Nikon’s approach, whereby DX and FX lenses are interchangeable on either format, but force either a crop or a focal length increase, appears more logical. But this cross-system incompatibility is probably very deliberate on Canon’s part. Even if it were mechanically possible, Canon wouldn’t want you mounting an RF lens on an EOS M body, or putting an EF-S lens on a full-frame EOS DSLR, because they don’t want you to cross the streams.

Canon’s EOS M6 II is the company’s most ‘serious’ EOS M camera to date, and operationally it’s quite similar to Nikon’s Z50. Both cameras are aimed at beginner and casual photographers, but both offer enough creative control to allow for growth (and differentiate themselves from smartphones).

Canon wants to keep the channels clear, by making one set of products for its APS-C customers, and another for the full-framers, with no cross-talk to confuse the signal.

Unlike Nikon (whose adventures in the 1-inch sensor format could be the subject for a whole other article) Canon has been testing the waters of large-sensor mirrorless for a while with the APS-C EOS M lineup, which debuted in 2012. Significantly, the M-mount was, is, and always will be an APS-C mount, for engineering reasons.

After a slow start, EOS M has evolved into a really nice little system. The EOS M6 II is terrific, there’s (finally) a decent fast prime in the EF-M lineup, and Sigma’s recent announcement that its popular DC DN lenses will be available for the system is good news, too. 3

For all that, it’s still a system which is ostensibly aimed at beginners and hobbyist photographers. The implied message is that if you want to take advantage of the best technology (especially optical technology) that the company has to offer, you’ll need to step up to full-frame. And that means RF.

Summing up

On a strategic level, then, Canon and Nikon’s APS-C plans appears to be pretty much the same: Differentiate the format from full-frame by aiming at the entry-level and hobbyist demographic, and hope that those customers eventually step up to the larger sensor format.

The difference is that with Nikon, if want to you go from DX to FX (or back the other way) you don’t necessarily need to invest in a whole new set of lenses to do so. One downside of Nikon’s approach is that by putting a small APS-C sensor into a large full-frame mount, Nikon has placed a hard limit on the compactness of any resultant DX Z-mount cameras.

With Nikon, if you go from DX to FX you don’t need to invest in a whole new set of lenses

In the end, then, Nikon’s approach to APS-C and full-frame development is very Nikon: Focus on one mount, develop your best lenses for the common sensor format (FX) and get the most out it by allowing for cross-compatibility of DX and FX optics. And Canon’s strategy is very Canon: Give crossover customers a dedicated (and genuinely compact) crossover system, in the form of EOS M, and take the opportunity presented by a major new technology platform (full-frame mirrorless) to optimize optical development around a dedicated new mount (RF).

If the market for enthusiast APS-C products ever looks like growing, both manufacturers can meet that requirement with their mirrorless platforms. 4 But while Canon has opted to draw a clear, uncrossable line between APS-C and full-frame, Nikon would like us to believe that one – really wide – mount can accommodate more than one kind of photographer.

1: The exception to this general rule being the D500, which was in effect a companion camera to the D5 with a built-in 1.5X teleconverter when used with FX lenses (which, make no mistake, were the lenses Nikon wanted professional D500 users to shoot with).

2: This is one of the reasons that third-party lens manufacturers tell us that they don’t see much of a future in the wider APS-C market right now.

3: Of course the Sigma announcement can be read in two ways – as a vote of confidence in M from an influential third-party lens manufacturer, or possibly as an indicator that following the launch of its RF mount, Canon may have reassessed the cost/benefit calculation of keeping EF-M lens development to itself, versus licensing it to third-parties. In truth, it may be a bit of both.

4: Meanwhile we’ll probably continue to see both companies selling increasingly iterative budget APS-C DSLRs for a few more years. At the risk of mixing metaphors, that cash cow still has some milk left in it.

Articles: Digital Photography Review (dpreview.com)

October 13, 2019

Blog

Luster photo paper

Glossy photo paper

Matte photo paper

Uses for these papers

Textured art paper

Printing on wood

Acrylic prints

Metal prints

In conclusion

Start with a portrait

Layering the images in Photoshop

Playing with Photoshop Blending Modes

Finishing your image

“Someone told me it’s all happening at the Zoo”

Challenges

Cages

Glass

Distance

Backgrounds

Capturing behavior

When to go

Including people

Equipment

Camera

Lenses

Tripod

Flash

Polarizing filter

Cloth

Settings

Composition

Editing

Go zoo it!

Official Nikkor Z 58mm F0.95 S Noct sample images

A COVETED CLASSIC REBORN AS A MODERN MASTERPIECE: NIKON RELEASES THE FASTEST NIKKOR LENS EVER CREATED, THE NIKKOR Z 58MM f/0.95 S NOCT

Nikkor Z 58mm F0.95 S Noct specifications

A BIGGER MOUNT TO SHARE THE BOLDEST IDEAS: IT’S EASY TO TAKE CREATIVITY FURTHER WITH THE LIGHTWEIGHT NIKON Z 50 MIRRORLESS CAMERA

THE NIKKOR Z DX 16-50mm f/3.5-6.3 VR & NIKKOR Z DX 50-250mm f/4.5-6.3 VR – NEXT GENERATION DX-FORMAT NIKKOR LENSES

Price and Availability

Nikon Z50 specifications

Nikon Nikkor Z DX 16-50mm F3.5-6.3 VR / 50-250mm F4.5-6.3 VR specifications

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Our pick: Canon EOS Rebel SL3 (EOS 250D)

So what does the Z50 tell us about Nikon’s APS-C strategy?

What future for enthusiast APS-C?

What about Canon?

Summing up