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Tips for Doing Drone Photography and How it Improve All Your Images

28 Aug

In this article, I’ll share with you some of my experiences doing drone photography in my first month with my new flying camera. You’ll see how learning to use and fly a drone can help you improve all your photography as well.

Getting into drone photography

A filmmaker friend of mine brought his DJI Mavic Pro (a small drone with a built-in 12-megapixel camera) to our house several months ago. I told him that I’d been thinking about all the photos I could take if I had a drone. He insisted that I try his out, so I did.

Bad move. I probably raved about it far more than was wise. My family took my enthusiasm seriously. Thus, for a combined Father’s Day/Birthday/Christmas present (since these flying cameras don’t come cheap), they got me a DJI Mavic Pro. I then owned a drone. And had no idea what to do with it.

You may be in the same situation if you’ve recently purchased a drone or are considering doing so. If you’re still determining which one to get, check out this helpful overview. Or take a look at these tips and reasons why you might want a drone.

Lessons Learned from Drone photography 2

What we’ll focus on here are the issues no one tells you about when you do finally get a drone. Learn how to speed up the learning curve and some surprising discoveries about how using a drone can make you an overall better photographer.

Take time to learn the basics

How long it will take you to learn to fly your drone depends in part on the drone you get. With the DJI Mavic Pro, I spent time reading the manual (somewhat helpful), watching the DJI videos (more helpful) and then watching other people’s YouTube videos (super helpful).

Even if you’re a “forget the instructions, let’s get going” type of person, spend time watching some of these videos. It will be worth the effort since not everything about your drone, especially from a photography perspective, will be intuitive. Besides, you can do it while your batteries are charging.

Lessons Learned from Drone photography 3

On most drones, the controller connects to your smartphone. Your phone’s screen becomes your remote viewfinder. Let’s state what may seem obvious but isn’t if you’ve never owned a drone.

You need a smartphone to fly most drones for photography purposes.

It took me three days of trying to get the detested DJI app (just read the app reviews and you’ll see what I mean) to work only to find that it was incompatible with my older phone. I switched to my wife’s phone and voila, everything suddenly worked.

If your drone doesn’t connect immediately once you download the app, it’s likely the app/phone combo. My advice is to focus on solving the phone/app connection first.

Starting to fly

Lessons Learned from Drone photography 17

The first time I actually flew the drone, I freaked out seeing it go up so high. The second time, not so much. The third time, I stopped looking at the aircraft (which, DJI reminds you repeatedly, is the proper name for the device, not a drone. Drones shoot missiles and spy on terrorists. Aircraft are, well, aircraft, I guess, even if this one can fold up and fit in a purse).

Instead, I just watched the screen. That is much easier. In short, while you want to have your drone in visual range at all times so you’re aware of hazards (that’s actually the law in most areas), concentrate mostly on your screen and you’ll gain confidence in flying it faster.

Learning how to make photos

I posted my first drone shots on Instagram and found some nice folks out there who liked them and have inspired me with their own drone photos. After looking at their photos (I’m only concentrating on photos initially, videos will come later), it gave me additional ideas on how to use my aircraft as a photography tool.

Here are some of the lessons learned in my first month of flying:

Lessons Learned from Drone photography 6

Learn to fly before you learn to shoot

This means finding a really open space and learning the controls well so don’t have to consciously think about every lever and button and what it does. You’ll have plenty of time for making photos later. Get the feel of the aircraft now.

Visualize before you take off

On the Mavic Pro, you get about 26 minutes of flying time on each battery (so definitely consider buying extras). Because of that, try to visualize your shots before you take off so you’re not spending that precious 26 minutes of battery life just flying around aimlessly.

You must realize, however, that when you first start working with a drone, everything will look different from above. Don’t worry. As you get more experienced, you’ll learn how to “read” a scene better and you’ll spend less time searching and more time setting up the shots you want.

Lessons Learned from Drone photography 13

Shoot RAW

Consider photographing in RAW (the camera’s native format for images as opposed to JPEGs) if you know how to process them in a program light Lightroom. For me, it is too hard to see all the lighting nuances on my phone screen. RAW gives me more latitude than JPEGs for fixing later.

Consider bracketing your shots as well (if your drone has that feature) to allow for even greater flexibility with exposure.

Don’t let the initial images fool you

DJI’s RAW files look pretty bad right out of the camera. But pump up the Blacks (for contrast) and increase the Vibrancy and the images can be stunning. Overall, the camera and the Mavic Pro aircraft are surprisingly good.

Lessons Learned from Drone photography 11

Learn the focus and metering buttons

Switching between the focus and metering buttons is easy once you locate them on the controller. Both are very useful since you get strong contrasts from the air.

At first, I blew out a lot of highlights. Once I learned to meter on the right areas of the scene, my photos improved dramatically. Start by sticking with the auto functions of the camera but quickly learn and use the other focus and metering functions available.

Consider getting a polarizer

Lessons Learned from Drone photography

A polarizing filter reduces glare but you can’t just twist it like a circular polarizer on your DSLR (it’s a bit out of reach when the drone is 300 feet above you). You can only adjust it by changing the angle of the aircraft which isn’t always helpful when composing a particular shot.

But the polarizer does protect the lens and makes the sky pop in your images. My next purchase will be some ND (Neutral Density) filters to knock down even more of the light and glare. Because you’re shooting from above, you’ll experience new angles of light that you don’t usually get with traditional photography.

Pay attention to the weather

Wind and moisture are big limiters in some areas. I recently returned from a trip to England (yes, most airlines allow drones on board as long as your batteries are in your carry-on) and was only able to fly the aircraft three times in 10 days.

Lessons Learned from Drone photography 8

Mostly, it was either rainy (moisture will ruin your battery) or too windy. But I did learn that I can fly in more wind than I initially thought, up to about eight mph of wind. I have gotten the high wind warning on the controller (which warns you about wind, if you’re in a restricted area or are too close to an object), but otherwise, no problems. But use your own discretion as one bad gust could ruin your day and your aircraft.

Don’t fly too high

Overhead shots can become more intriguing when you limit your altitude. As the photo above of the couple reveals (shot at a height of about 12 feet/three meters), you can get great images with a drone that no one but you will even know were shot with a drone.

Lessons Learned from Drone photography 10

Play with the color

Because sunlight is hitting the subject from a different angle than you’re used to, that will affect the color of your photos in surprising ways. Some familiar objects such as trees will be more vibrant when shot from above than from the side.

Just be prepared to experiment a good deal in your editing software with color.

Compensate for parallax

Lessons Learned from Drone photography 5

There’s a parallax phenomenon that takes time to understand. Compare the photos of two bridges above and below. In the first, I wasn’t directly over the bridge and the photo isn’t as good as the second one where I took the time to turn the drone sideways while rotating it at the same time to get the shot lined up perfectly.

Lessons Learned from Drone photography 7

It seems simple until you try it. But with practice, you’ll learn little tricks on how to maneuver your drone to get the shot you want. And the image stabilization, at least in my Mavic Pro, worked better than expected. Thus, if you can line up the shot, you’ll likely get a good image.

Start with photographs

As noted, I’ve held off on shooting more than quick snippets of video. Why? Because with still photography, the aircraft is essentially a floating platform that I can nudge into position. If my turns are awkward, it doesn’t matter.

But when you’re shooting video, flying is everything (or a whole lot). You want your aircraft’s movements to flow smoothly. In my first month of periodic flying, I just wasn’t experienced enough for video. But I did ask my friend Randy (who’s had a drone about as long as I have) about his experience with video.

Lessons Learned from Drone photography 18

He noted that a) videos are smoother when you lower the frame per second rate, and b) it’s far better to keep the focus on a single element rather than panning around to capture everything at once.

Learn how to avoid obstacles

In the early stages, you’ll likely be a bit freaked out by trees or other objects that seem to reach out toward your drone. Personally, I haven’t yet gotten close enough for the aircraft to employ its obstacle avoidance procedures.

Randy tested the sensors out by flying his aircraft directly at him. He figured that unlike flying into a tree, he could move out of the way if the sensors failed. As it turns out, they worked great. The aircraft stopped a few feet before him.

You still want to fly carefully, but it is nice to know you have the sensors working for you.

Recognize the limitations of where you can fly

Lessons Learned from Drone photography 12

There are restrictions where you can fly your drone (no national parks, no crowded areas, no flying near airports, etc.) but there are still vast regions you can explore by air that you can’t when tied to the ground. Also, scenes that look boring from the ground (a wheat field, for example), take on new possibilities when viewed from above. You just have to rethink what makes for a great image.

Try direct overhead photos

Shots taken directly overhead will likely be more intriguing to you when you first start. Remember when Instagram was first getting going? Everyone took photos of their feet because they were more enamored with the filters on Instagram than in taking great photos.

You’ll likely soon grow to improve and get better shots at angles, but as a beginner, the direct overhead shot is fun because it is a completely new way of seeing things. And don’t rule them out even as you get better. You’ll still find scenes where the direct overhead shot tells the best story.

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Compare, for example, the two shots of the wrecked fishing boat above and below. Which is better? It’s all a matter of taste, but now you have options.

Lessons Learned from Drone photography 16

Learn to shoot at angles

Angled images are tougher to shoot at just the right height, distance and direction than direct overhead ones. But they don’t scream “DRONE SHOT” the way some higher-altitude-direct-overhead photos do.

Also, a benefit of angled shots is that you can isolate your subject from distracting foreground or background items. For example, in the shot of the ruined church above, using a drone allowed me to avoid several unwanted foreground elements.

Lessons Learned from Drone photography 9

Photograph like a designer

Back to direct overhead shots, another benefit is that they can help you think differently about photography. You may, in fact, start perceiving the world more from a design perspective, being more aware of line, texture, patterns, and colors.

You’ll see shapes, arrangements and interesting connections you wouldn’t otherwise just because you’re viewing scenes from different heights and angles. Check out these 11 drone tips for inspiring examples of using design principles in your photography.

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The added benefits of photographing with a drone

For most photographers, a good quality drone is a luxury, not a necessity. But its greatest value isn’t just in allowing you to take photos you cannot without it. It’s helping you to make better photos even when you’re not using it simply because it will cause you to rethink how you see a scene and thus make a photo.

When I was in college, I played on the school’s tennis team. Part of the training included a class on how to teach others to play the game. For the month that the class lasted, each participant had to play using his or her non-dominant hand. Not easy.

Shooting with the drone/aircraft is similar. Because it is initially so unfamiliar, it will rewire how your brain thinks about the subject you’re photographing and how to compose the image the best way. Without a drone, your photography will likely be two-dimensional and you’ll probably continue shooting in the same way as you always have.

With a drone, you have to factor in height and different angle possibilities. That, in turn, will affect your more terrestrial shots as well since you’ll see more possibilities than you did before.

It may take time to master drone photography. But along the way, you’ll likely capture some surprising and astounding images. And best of all, you may become a better overall photographer as a result.

The post Tips for Doing Drone Photography and How it Improve All Your Images appeared first on Digital Photography School.


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Hydra app update brings zoom lens support and improved selfies

28 Aug

The Hydra app from Belgian company Creaceed is one of the more interesting iOS camera apps we have seen in the recent past. Applying multi-frame methods merging up to 60 exposures, Hydra offers a range of clever-looking capture modes, including an HDR mode that combines up to 20 exposures, a Hi-Res mode that can produce up to 32MP images and a Zoom mode that, by making use of the Hi-Res mode technology, allows for digital zoom with better detail than the standard method.

Now the app has received a major update, with version 1.5 finally supporting the optical zoom lens in iPhone dual-camera models. This means that the combination of optical zoom and the app’s advanced digital zoom you can now achieve even better zoom results up to a 8x magnification.

In addition HDR and low light modes are now available on the front camera, allowing for better selfie images in low light and high-contrast scenes.

Hydra 1.5 requires iOS 10.0 and can be downloaded from the App Store for $ 4.99. More information is available on the Hydra website.

Articles: Digital Photography Review (dpreview.com)

 
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Samyang announces 85mm F1.8 lens for APS-C mirrorless cameras

27 Aug

Samyang has announced an upcoming 85mm F1.8 prime lens for a collection of APS-C format mirrorless camera systems.

The lens, which will also be sold under the Rokinon brand name, is available in Sony E-, Fuji X- and Canon M-mounts, as well as Micro Four Third (MFT) systems. Taking into account the crop factors, the 85mm F1.8 lens will be equivalent to roughly 128mm on Sony E- and Fuji X-mounts, 136mm on Canon M-mounts and 170mm on MFT systems.

The lens is constructed of nine optical elements in seven groups, which includes an Ultra Multi Coating (UMC) to reduce ghosting and chromatic aberration. It relies on manual focusing with a minimum focusing distance of 0.65m/2.13 feet and features a nine-blade aperture diaphragm. The front filter mount is 62mm and the lens comes with a reversible lens hood.

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The Samyang/Rokinon 85mm F1.8 lens is set for a September 2018 release date at an expected MSRP of $ 399.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z 7 sample gallery updated from New York and Japan

27 Aug

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We’ve just returned from two launch events for Nikon’s new Z system – one in New York, and one in Tokyo. After spending a little more time with two more pre-production cameras, we’ve updated our previously published samples gallery.

Read our first impressions review of the Nikon Z 7

Articles: Digital Photography Review (dpreview.com)

 
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The Illusion of Photography and the Miracle of Sight

27 Aug

The photographic process is a grand illusion from top to bottom. Think about it. Everything about the process is visual trickery. Photography provides a reasonable facsimile of real-life perception, and luckily, your brain’s visual cortex is very forgiving and willing to play along with this ruse.

Here’s what I mean.

Illusion of Photography CameraLensEye

Your brain is pretty smart; way smarter, adaptable and intelligent than we sometimes give it credit for. Human perception takes place on a completely different level than photography (or even videography). But photographic science and advanced camera functions do hold certain advantages over nature’s system. Here’s a look at a comparison of the two systems.

Motion / Still Life

Your camera is able to capture slices of time and literally freeze motion in its tracks. Camera shutter speeds slice and dice life into instances of time lasting just thousandths of a second each. Only when we fail to set the shutter speed and (ISO) sensitivity properly are objects in motion recorded as a blur.

Illusion of Photography Motion Blur

Your eyes, on the other hand, have rarely seen anything absolutely still, unless it is a rock formation or building. Even then, our view is constantly changing simply because our body moves continually.

While your eyes capture thousands of frames each second, they process the images quite differently than your camera. They stream high-speed snapshots to your brain’s visual cortex – two at a time (right and left views) providing dimension and shape. And they do this all day, every day. No batteries or memory cards are required.

Your eyes shift and refresh their view thousands of times every second to paint complete three-dimensional moving scenes in your mind. This is perpetual “streaming” at the speed of light.

Video

The illusion of moving pictures (or movies) comes close to replicating what human eyes perceive as motion. The action portrayed in motion pictures is accomplished when single-frame images are flashed onto a screen sequentially at the same speed that they were recorded. The process works effectively to simulate what the human eye processes at much higher rates.

The major difference is the processing speed. Specific video codecs (computer word for the compression and decompression process) involve industry-standard capture/playback speeds (frames-per-second) designed to match the processing power of various playback systems. Videos are recorded and played back at speeds up to 60/fps to trick the eye into perceiving motion instead of seeing individual frames flickering by.

Autofocus and Blurred Backgrounds

The camera focuses on a single plane or depth of field and blurs the rest of the picture. You have the option to automatically focus on all subjects in the scene or select specific pinpoint areas.

If you set the camera to autofocus, you must remember that the camera always seeks and focuses on the objects with the highest contrast ratio in the scene. To control this you may select between face detection, autofocus tracking, multiple focus points (zone focus) or overall scene settings to tell the camera your preference.

Camera focus is all about managing the blur; making the eye concentrate on a particular part of the scene.

Illusion of Photography Autofocus Blur

Your eyes don’t really see blurs at all. They automatically focus on the single subject of your attention and gradually defocus and separate the view of the non-subject areas. This is quite different than camera “bokeh.” Close one eye and view a scene in the room, then switch eyes and notice how the background shifts.

The human eye displaces subjects in the background while the camera attempts to blur them. We’ve been conditioned to accept photo blurs as if they are a part of real life, even though they aren’t!

Two Versus Three-Dimensionality

Single lens cameras capture only two-dimensional images; with height and width. Items in focus are limited to a single defined “plane,” or distance from the camera. The dimension of depth is simulated by blurring objects which are not in perfect focus.

Your eyes never observe scenes in only two dimensions; they see every scene in three dimensions, through two converged horizontal viewpoints, your left, and right eyes. Your eyes adjust and shift focal length almost instantaneously. Only recently has Hollywood caught onto the 3-D trick.

Dimension, like depth, is perceived visually by slightly defocusing and horizontally shifting the two scenes behind the object in focus. This differs significantly from the camera’s method of simply blurring and softening the background. While depth can be simulated, dimension cannot be. Dimension requires a process called parallax, a word derived from the French “parallaxe” meaning “fact of seeing wrongly.”

Depth of Field

The camera uses its single lens to capture subjects from a direct frontal view. With the camera, you can also determine how much of the scene you want in focus by a managing the depth of field (DOF); blurring both the foreground and background for emphasis.

You can’t do this with your eyes. If you concentrate on an object close to you, pretty much everything behind the subject will automatically be defocussed.

Illusion of Photography DOF

Each of your two eyes sees that same subject from a slightly horizontally-offset angle, which is a very good thing! This overlapping, crisscross view allows you to see enough of the sides of each subject to sense dimension, judge distances, and safely navigate your way around obstacles. When the eye’s two views are combined, they provide a unique depth and dimension to your perception.

Try walking around when viewing the scene ONLY through your camera’s viewfinder and you’ll notice the difference.

Sphere of Focus

Camera lenses all have one thing in common. When they focus on an object a measured distance from the lens, everything else in the scene (the same distance from the lens) is also in focus. The optical nature of the spherical shape of the lens makes this happen. When you employ a wide angle lens, you can see everything in the scene in near-perfect focus.

Illusion of Photography Sphere of Focus

The human eye is quite different. Our focus on a subject is actually limited to a very small radius of view, between 7-10° wide. Everything outside that window appears defocused; not blurred, but just out of sharp focus.

While our peripheral vision spans nearly 180°, only a very tight circle of view appears totally focused. The way we perceive entire scenes by our eyes is constantly shifting and sending patches of focus to the cerebral cortex, which paints a momentary scene in our mind.

Try staring at one word on this screen. You’ll notice that unless your attention shifts slightly, the words on either side of that word aren’t really “in focus.” The real magic is that both of your eyes have this agility and they both work in perfect unison, viewing the same exact spot and shifting together at precisely the same moment.

Monochrome

All digital cameras are able to record images using only the luminosity channel producing “black-and-white” images. Monochrome photographic images remove all chrominance (color) information and rely only on single color contrast (luminance) to portray the scene.

Photography’s earliest roots are in black and white photography as the development of film emulsions were able to capture only luminance (monochrome) values with the light-sensitive silver halide particles. Even color films used this same monochromatic process but added color filters to capture individual RGB light waves.

Illusion of Photography Monochrome

Your eyes have never experienced this phenomenon except in photographic reproduction. The eye’s rods and cones that make up the image receptors interpret every scene in full color. Red, green, and blue receptors in your eyes perform this same service for your vision.

This characteristic of photography is perhaps the most bazar example of visual forgiveness, though the eye’s rods (more receptive to the green frequency of light) are most able to perceive forms and shapes under very low lighting conditions. This is why identifying colors in low light is so difficult. Not coincidentally, the green channel of color digital photography captures the most realistic monochromatic information.

Zoom, Wide Angle, and Telephoto

You probably own either a zoom lens, a fixed-focus telephoto, or a wide-angle lens for your camera. These variable distance lenses allow you to capture scenes either closer or farther away than your eyes typically see. Your human eyes are “fixed” on a 1:1 or “real-time” vantage point.

If you want to see a subject at a different distance, you have to adjust your personal distance to the subject or view the world through magnifying lenses like binoculars.

Resolution

Illusion of Photography Resolution

Here’s another area where photographic systems hold an advantage over human vision. When ultra-sharp lenses are coupled with high megapixel image sensors, the number of pixels available to publish a photo far exceeds the size and magnification capabilities of human vision. When pixels are displayed small enough to escape detection (roughly 100 per inch), image projection and reproduction sizes are nearly limitless.

Autofocus

Your camera can capture a scene in which everything is in near-perfect focus. From an object just feet away to a mountain five miles away, everything is sharp and clear. It is impossible for your eyes to view entire scenes in perfect focus, though photographic prints depend on the brain’s forgiving acceptance of this abnormal interpretation.

Y0ur eyes very rarely maintain the same focus for any period of time. Your brain stays hungry for visual information and your eyes know how to satisfy that appetite. Your eyes shift their attention rapidly to maintain their focus on moving objects.

Try staring at this page for more than 15 seconds and you’ll probably notice your eyes shifting briefly before returning to the word you were reading. Your eyes and brain have an insatiable visual appetite and a boundless curiosity.

Pixels, Dots, and Spots

Illusion of Photography Pixel Dots Spots

And then there’s the whole pixel/halftone illusion itself. Your eyes register nature’s colors as continuous tones, colors that have no stages or gradations. A feat we graphic illusionists have never been able to reproduce. Every image we reproduce has to be broken down into minuscule particles of color so small that human vision cannot readily identify them individually (I’ve exaggerated the pixels and halftone dot sizes for those who don’t know the trick).

Something to think about

For all the similarities between the camera and the human eye, there are just as many (if not more) differences.

But in spite of those differences, we would be much the poorer without the precision of the human eye and the features of the digital camera. Appreciate both systems for what they add to your perception of life.

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Nikon offers optional Dot Sight accessory to aid telephoto photography

27 Aug

Alongside the official unveiling of the Nikkor 500mm F5.6E PF ED, Nikon has announced an optional Dot Sight accessory to help telephoto photographers better track moving subjects. The DF-M1 makes it easier to aim a super-telephoto lens like the 500mm at a fast-moving, distant subject by presenting a wider field-of-view and an illuminated dot target that moves relative to the lens. The Dot Sight accessory will cost $ 175.

Press release:

NIKON RELEASES THE AF-S NIKKOR 500mm f/5.6E PF ED VR, A FIXED FOCAL LENTH SUPER-TELEPHOTO LENS COMPATIBLE WITH THE NIKON FX FORMAT

Delivers Exceptional Agility that Makes Hand-Held Super-Telephoto Photography Enjoyable, as Well as Offering Superior Optical Performance and Functionality

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) –Nikon Inc. is pleased to announce the release of the AF-S NIKKOR 500mm f/5.6E PF ED VR, a fixed focal length super-telephoto lens compatible with Nikon FX-format digital SLR cameras.

The AF-S NIKKOR 500mm f/5.6E PF ED VR is a high-performance, FX-format, super-telephoto lens that supports 500 mm focal length. The adoption of a Phase Fresnel (PF) lens element has significantly reduced the size and weight of the lens, making hand-held super-telephoto photography easier and more enjoyable.

With a maximum diameter of 106 mm and length of 237 mm, the AF-S NIKKOR 500mm f/5.6E PF ED VR, which weighs 1,460g (roughly the same weight as the AF-S NIKKOR 70-200mm f/2.8E FL ED VR) is significantly lighter than previous500mm lenses which can typically weigh up to more than 3,000g. The AF-S NIKKOR 500mm f/5.6E PF ED VR is designed with consideration to dust- and drip- resistance, which in addition to the fluorine coat applied to the front lens surface, allows greater agility when shooting.

The use of one PF lens element and three ED glass elements enables extremely sharp and detailed rendering that is compatible with high pixel-count digital cameras. In addition, the materials used in the new PF lens element have been developed effectively to reduce PF (diffraction) flare, allowing light sources to be reproduced in near-original colors. In combination with Nikon’s coating technologies, such as the Nano Crystal Coat, effective in controlling ghost and flare, extremely clear images are achieved.

AF speed has been increased by making lens elements in the focusing group lighter. The AF-S NIKKOR 500mm f/5.6E PF ED VR is equipped with a VR mechanism that offers camera shake compensation equivalent to a 4.01-stop increase in shutter speed. The SPORT VR mode that has been adopted is especially effective when photographing fast-moving and unpredictable subjects such as wild birds, or in scenes such as sporting events. The stabilization of the image displayed in the viewfinder is also an effective feature for recording movies.

Additionally, the use of the Mount Adapter FTZ will allow the lens to be used with mirrorless cameras Nikon Z 7 and Nikon Z 6, also announced today. Users will be able to enjoy super-telephoto shooting at the 500 mm focal length with a system that is even more compact than ever before.

We are also planning to release the Dot Sight DF-M1, an accessory that is highly effective with super-telephoto photography. With super-telephoto shooting, a narrow field of view in the viewfinder tends to be made visible – making it easy to lose track of the subject. The Dot Sight DF-M1 makes it easy to keep track of the intended subject within the frame, even if the subject exhibits sudden movement.

PF (Phase Fresnel) Lens Elements
The PF (Phase Fresnel) lens, developed by Nikon, effectively compensates chromatic aberration, utilizing the photo diffraction phenomenon2. It provides superior chromatic aberration compensation performance when combined with a normal glass lens. Compared to many general camera lenses that employ an optical system using the photorefractive phenomenon, a remarkably compact and lightweight body can be attained with fewer lens elements.

Primary Features

  • Significantly smaller and lighter with the adoption of a Phase Fresnel (PF) lens element, making 500 mm hand-held super-telephoto photography easier and more enjoyable
  • Designed with consideration to dust- and drip-resistance; fluorine coat applied to front lens surface, effectively repelling water droplets, grease, and dirt
  • Adoption of one PF lens element and three ED glass elements for extremely sharp and detailed rendering, compatible with high pixel-count digital cameras
  • Optical performance that is not compromised with the use of the TC-14E III AF-S teleconverter
  • Materials used in the new PF lens element effectively control PF (diffraction) flare
  • Ghost and flare effectively suppressed with the adoption of the Nano Crystal Coat, enabling clear images
  • AF speed increased by making lens elements in the focusing group lighter
  • Equipped with a VR mechanism that offers camera shake compensation equivalent to a 4.01-stop increase in shutter speed, in two modes: NORMAL and SPORT
  • Electromagnetic diaphragm mechanism adopted for extremely precise aperture control

Optional Accessories
We will release the Dot Sight DF-M1 (available separately), an accessory that is highly effective with super-telephoto photography. This accessory makes it easy to keep track of the intended subject, even if the subject exhibits sudden movement.

Price and Availability
The AF-S NIKKOR 500mm f/5.6E PF ED VR will be available September 13 for the suggested retail prices (SRP) of $ 3599.95*. The Dot Sight DF-M1 will be available for $ 174.95 SRP*. For more information on these and other Nikon products, please visit www.nikonusa.com.

Articles: Digital Photography Review (dpreview.com)

 
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Pricing and availability announced for ‘compact’ Nikon 500mm F5.6E

27 Aug

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Nikon has gone public with pricing and availability for its previously-announced AF-S Nikkor 500mm F5.6E PF ED VR lens. The use of a Phase Fresnel element allows for a smaller and lighter lens design, in theory allowing the 500mm F5.6 to be used handheld somewhat comfortably. The lens will be available September 13th for $ 3600.

Press release:

NIKON RELEASES THE AF-S NIKKOR 500mm f/5.6E PF ED VR, A FIXED FOCAL LENTH SUPER-TELEPHOTO LENS COMPATIBLE WITH THE NIKON FX FORMAT

Delivers Exceptional Agility that Makes Hand-Held Super-Telephoto Photography Enjoyable, as Well as Offering Superior Optical Performance and Functionality

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) –Nikon Inc. is pleased to announce the release of the AF-S NIKKOR 500mm f/5.6E PF ED VR, a fixed focal length super-telephoto lens compatible with Nikon FX-format digital SLR cameras.

The AF-S NIKKOR 500mm f/5.6E PF ED VR is a high-performance, FX-format, super-telephoto lens that supports 500 mm focal length. The adoption of a Phase Fresnel (PF) lens element has significantly reduced the size and weight of the lens, making hand-held super-telephoto photography easier and more enjoyable.

With a maximum diameter of 106 mm and length of 237 mm, the AF-S NIKKOR 500mm f/5.6E PF ED VR, which weighs 1,460g (roughly the same weight as the AF-S NIKKOR 70-200mm f/2.8E FL ED VR) is significantly lighter than previous500mm lenses which can typically weigh up to more than 3,000g. The AF-S NIKKOR 500mm f/5.6E PF ED VR is designed with consideration to dust- and drip- resistance, which in addition to the fluorine coat applied to the front lens surface, allows greater agility when shooting.

The use of one PF lens element and three ED glass elements enables extremely sharp and detailed rendering that is compatible with high pixel-count digital cameras. In addition, the materials used in the new PF lens element have been developed effectively to reduce PF (diffraction) flare, allowing light sources to be reproduced in near-original colors. In combination with Nikon’s coating technologies, such as the Nano Crystal Coat, effective in controlling ghost and flare, extremely clear images are achieved.

AF speed has been increased by making lens elements in the focusing group lighter. The AF-S NIKKOR 500mm f/5.6E PF ED VR is equipped with a VR mechanism that offers camera shake compensation equivalent to a 4.01-stop increase in shutter speed. The SPORT VR mode that has been adopted is especially effective when photographing fast-moving and unpredictable subjects such as wild birds, or in scenes such as sporting events. The stabilization of the image displayed in the viewfinder is also an effective feature for recording movies.

Additionally, the use of the Mount Adapter FTZ will allow the lens to be used with mirrorless cameras Nikon Z 7 and Nikon Z 6, also announced today. Users will be able to enjoy super-telephoto shooting at the 500 mm focal length with a system that is even more compact than ever before.

We are also planning to release the Dot Sight DF-M1, an accessory that is highly effective with super-telephoto photography. With super-telephoto shooting, a narrow field of view in the viewfinder tends to be made visible – making it easy to lose track of the subject. The Dot Sight DF-M1 makes it easy to keep track of the intended subject within the frame, even if the subject exhibits sudden movement.

PF (Phase Fresnel) Lens Elements
The PF (Phase Fresnel) lens, developed by Nikon, effectively compensates chromatic aberration, utilizing the photo diffraction phenomenon2. It provides superior chromatic aberration compensation performance when combined with a normal glass lens. Compared to many general camera lenses that employ an optical system using the photorefractive phenomenon, a remarkably compact and lightweight body can be attained with fewer lens elements.

Primary Features

  • Significantly smaller and lighter with the adoption of a Phase Fresnel (PF) lens element, making 500 mm hand-held super-telephoto photography easier and more enjoyable
  • Designed with consideration to dust- and drip-resistance; fluorine coat applied to front lens surface, effectively repelling water droplets, grease, and dirt
  • Adoption of one PF lens element and three ED glass elements for extremely sharp and detailed rendering, compatible with high pixel-count digital cameras
  • Optical performance that is not compromised with the use of the TC-14E III AF-S teleconverter
  • Materials used in the new PF lens element effectively control PF (diffraction) flare
  • Ghost and flare effectively suppressed with the adoption of the Nano Crystal Coat, enabling clear images
  • AF speed increased by making lens elements in the focusing group lighter
  • Equipped with a VR mechanism that offers camera shake compensation equivalent to a 4.01-stop increase in shutter speed, in two modes: NORMAL and SPORT
  • Electromagnetic diaphragm mechanism adopted for extremely precise aperture control

Optional Accessories
We will release the Dot Sight DF-M1 (available separately), an accessory that is highly effective with super-telephoto photography. This accessory makes it easy to keep track of the intended subject, even if the subject exhibits sudden movement.

Price and Availability
The AF-S NIKKOR 500mm f/5.6E PF ED VR will be available September 13 for the suggested retail prices (SRP) of $ 3599.95*. The Dot Sight DF-M1 will be available for $ 174.95 SRP*. For more information on these and other Nikon products, please visit www.nikonusa.com.

Articles: Digital Photography Review (dpreview.com)

 
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How to Use Selective Color for More Dynamic Images

27 Aug

Semi black and white or selective color photos are quite effective. It’s an old trick by some photographers considered a cheap trick, nevertheless, it is a quite effective one. And just because it’s an old idea it should not hold you back from experimenting with it.

Learn How to Use the Strength of Selective Color - old ship in Denmark

A selective color photograph of the Viking ship “The Sea Stallion” in Roskilde, Denmark.

In this article, you will learn a couple of different ways to make selective color photos and you how to spot or photograph the candidates. It’s not a technique that is applicable to all photographs, but for some, it can make a big difference.

You most likely already know some famous selective color photos. A classic image is of a 7-year old boy kissing a 7-year old girl while holding a red rose, where the flower is the only thing in color. Or a photo of a red bicycle, and everything else but the bicycle is black and white.

These examples are probably part of the reason the technique is considered a cheap trick.

street in europe at night with orange lights - Learn How to Use the Strength of Selective Color

Background information

Before diving into the technique, you might want to know the theory. The pioneer landscape photographer Ansel Adams used a technique in his darkroom to change the exposure locally on various parts of a photo. This way he could make some areas brighter and others darker.

The human eye naturally seeks the brighter parts of a photo and by using this knowledge, Ansel Adams could emphasize what he wanted and guide the viewer around in his photos. This technique is called dodging and burning.

selective color landscape scene - Learn How to Use the Strength of Selective Color

You can use a similar technique with colors. Just as the human eye is attracted to bright areas in an image, it is also attracted to more saturated areas. In this way, it is very similar to dodging and burning. You can use this as a tool to guide the viewer’s eye around a photo.

Just to be clear: It is the difference in saturation that the eye can spot not just high saturation. If you have even saturation all over your photo, you can’t control the eye through color. Increasing or decreasing the overall saturation will not change that situation and if everything gets too saturated it often becomes painful to look at.

If you only turn up the saturation on certain objects of interest in your photo, the eye will seek those out. This way you will be able to guide the viewer to the important objects in your photo.

Chicago the Bean - Learn How to Use the Strength of Selective Color

You can achieve the same effect by decreasing the saturation from everything else but the subject. If you go to the extreme end and completely remove all color, except a few elements, you will have a semi-black and white or selective color photo.

By using this technique you will create stronger photos.

The classic technique to create selective color photos

You can create the classic “boy kisses girl” or “red bike” photographs, but you can also go searching for something else. This example is from the famous Nyhavn in Copenhagen. These old houses are very colorful, which can look great, but also can be quite an eyeful of colors.

row of houses in Copenhagen - Learn How to Use the Strength of Selective Color

By removing colors from all houses except the two yellow ones, the attention is strong on those two houses. Any house or two houses picked to be saturated, would attract attention, but the two picked are good candidates, because:

  1. They are both the same color, which creates balance.
  2. They are approximately the same size, which also adds to creating balance.
  3. Most importantly, they have symmetrical placement in the photo.

Composition

Notice that the houses are placed the same distance from the edge of the frame. That emphasizes the composition and makes it a stronger photo than most other available choices.

Notice also that the windows between the two yellow houses have some color. That is a spice that allows the viewer to discover more subtle details, making the image more interesting to look at.

Learn How to Use the Strength of Selective Color

You can use the selective color approach to create a different kind of composition within your photo. You can plan this when you are photographing. Or, as I did in this case, you can discover it when you post-process the photos. It is the final result that counts, not the path you chose to get there.

The next photo is a similar example from a metro station. Again you can see the clearly separated colored stairs. Just like before, you can also find a little spice in the blue color added to the stairs. You can do that kind of trick to make the image more intriguing.

red and blue stairs - Learn How to Use the Strength of Selective Color

If you want to create photographs like these, search for something that you can make stand out. Then frame it, like it was more or less the only object within the frame. You have to think of it as a very simple composition, even if it is a busy scene.

When you desaturate the rest of the image, the balance will change. The colored elements will be the primary focus points, regardless of everything else in the photo.

How to make a classic selective color photo

There are several ways to do this, in this example, you will learn an easy-to-learn approach in Adobe Lightroom. First, you have to find the photo that you want to work on and then follow these steps.

Step 1 – Go to the Development Module

Lightroom Develop - How to Use Selective Color for More Dynamic Images

Step 2 – Pick the Adjustment Brush tool

Step 3 – Set brush settings

At first, make sure you have edge detection (Auto Mask) disabled and the brush is at 100% flow and 100% density. Then reset all settings (double-click on the word Effect) except Saturation, which you will then set to -100.

Step 4 – Paint everything black and white

How to Use Selective Color for More Dynamic Images

Step 5 – Switch to the Erase brush

Step 6 – Paint in the objects you want to have color

Set the size of the brush to something that is fitting for your subject and paint roughly over it. The Erase Brush will remove the black and white, and you will get a colored object.

Step 7 – Zoom in and make sure you have the edges right

Next Zoom in (press Z) and switch between the Brush and the Erase Brush to make a perfect edge.

Depending on your photo, you may have to use either Feather at 0 or you may be able to use Auto Mask, which is the automatic edge detection. In this case, the Auto Mask cannot figure out the edge and I had to use a brush at 0 Feather (hard edge brush).

How to Use Selective Color for More Dynamic Images

Remove some colors

You can also use a different approach. Instead of limiting the colors to a specific object, you can remove certain colors. This approach works well on photos that have unwanted colors or a color cast.

In the example below of the Vikingship, the photograph was shot during the blue hour. Because the blue light reflects in the snow it becomes too much and it is not flattering. By removing the Blues and the Cyan/Aquas the photo changes and becomes a piece of fine art. Use the HSL panel to do this.

How to Use Selective Color for More Dynamic Images - before and after images

Just by removing blue and cyan/aqua a photo can become a piece of fine art.

This technique gives photos that have a much more complex separation between the black and white and the colored elements and the viewer can go searching for details. In the photo above, you can find a second Viking ship with Christmas lights on in the background.

Here’s another example from The Scoop in London. There was a light drizzle, which was enough for the blue light to shine and appear to glow into the air. By removing all other colors than blue and purple the photo is changed dramatically.

This third photograph below is from a train station in Geneva.

If you study the photos you can see the colored selections are much more complex and not something you can do by hand.

The photograph from London is about the shape of The Scoop. The original photograph had an orange sky, which did not work well with the blue light of The Scoop. By using the selective color black and white technique, the focus is on The Scoop.

How to remove individual colors

You can very easily remove specific colors in Adobe Lightroom. Find the photo you want to work with.

Step 1 – Go to the Develop Module

How to Use Selective Color for More Dynamic Images

Step 2 – Go to the HSL module

HSL panel
Play with pulling some of the sliders to zero and leaving some at 100. You may have to dial several of the sliders to zero to achieve the desired effect.

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Nikon FTZ adapter lets you use over 360 F-mount lenses on Z-series bodies

26 Aug

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One question many people have when a new camera system is announced is ‘but will my old lenses work?’ In the case of the Nikon Z system, the answer is ‘yes’ in the vast majority of cases, with no reduction of image quality or performance, according to the company.

With the optional FTZ adapter over 90 AF-S lenses will be fully compatible with the Z 7 and Z 6. They can take advantage of the camera’s in-body image stabilization and, if you’re using a VR-equipped lens, it will have 5-axis stabilization. (Non-VR lenses will now have 3-axis VR.)

Take an in-depth look at the FTZ’s functionality and our initial performance impressions

The adapter supports the silent shooting and focus peaking functions of the Z-series cameras and, like the Z 7 and Z 6, it’s also weather-sealed.

The FTZ adapter will ship at the end of September for $ 249. When purchased with a Nikon Z 6 or Z 7 through December 31 2018, Nikon will offer a $ 100 discount.

Press Release

NIKON RELEASES THE NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, NIKKOR Z 50mm f/1.8 S, AND THE MOUNT ADAPTER FTZ, AND DEVELOPS THE NIKKOR Z 58mm f/0.95 S NOCT

Designed Exclusively for the Nikon Z Mount System, Featuring a New, Larger-Diameter Mount

MELVILLE, NY (AUGUST 23, 2018 AT 1:01 A.M. EDT) – Nikon Inc. is pleased to announce the release of three new lenses designed for the next-generation Nikon Z mount system’s full-frame (Nikon FX format) mirrorless cameras, for which a new larger-diameter mount has been adopted. The three new lenses are the standard zoom NIKKOR Z 24-70mm f/4 S, the wide-angle prime NIKKOR Z 35mm f/1.8 S, and the standard prime NIKKOR Z 50mm f/1.8 S. Nikon has also announced the Mount Adapter FTZ for Z System compatibility with existing NIKKOR F mount lenses and development of the NIKKOR Z 58mm f/0.95 S Noct lens1.

NIKKOR Z lenses pursue a new dimension in optical performance, by taking advantage of the superior design flexibility made possible by the combination of the larger Z mount with its inner diameter of 55mm, and a short flange focal distance of 16mm. The lenses offer sharp resolution with both still-image and video recording, and are equipped with functions that include: compensation for focus breathing (the shifting of the angle of view when focus is adjusted), quiet operation, smooth exposure control, a control ring and performance that is well suited for video capture.

The NIKKOR Z 24-70mm f/4 S, NIKKOR Z 35mm f/1.8 S, and NIKKOR Z 50mm f/1.8 S are S-Line interchangeable lenses. The S-Line is a newly designated grade of NIKKOR Z lenses that adhere to a new benchmark in optical performance, realizing rendering performance that surpasses that of conventional f/4 standard zoom lenses and f/1.8 wide-angle or standard prime lenses. From maximum aperture, clear and sharp resolution can be achieved as well as beautiful bokeh characteristics.

Additionally, the Mount Adapter FTZ has been designed to allow users of Nikon SLR cameras to utilize their existing NIKKOR F mount lenses with the Z mount system and enjoy taking advantage of an even wider variety of lens characteristics with their photography.

Development of the NIKKOR Z 58mm f/0.95 S Noct

Nikon is currently developing the NIKKOR Z 58mm f/0.95 S Noct, a standard prime manual focus lens and the fastest lens in Nikon’s history. The design of the Noct lens exemplifies Nikon’s mission to pursue the ultimate optical performance in the mirrorless category. As the result, the Noct is positioned at the top of the S-Line. In addition, Nikon is planning on releasing a variety of new lenses that will continue to expand its line of attractive, high-performance NIKKOR Z lenses that further extend photographers’ creative expressions.

NIKKOR Z 24-70mm f/4 S Primary Features

  • Standard focal-length range from wide-angle 24mm to medium-telephoto 70mm can effectively cover a wide variety of scenes and subjects with rendering performance that will change the perception of what is possible with zoom lenses with a maximum aperture of f/4
  • Optical design that suppresses variations in aberrations from shooting distances of close-up to infinity, demonstrating sharp resolution even in the peripheral areas of the frame from the maximum aperture, as well as fine point-image reproduction
  • Achieved a minimum focus distance of just 0.3 m across the zoom range
  • Adoption of an ED glass element, an aspherical ED lens element, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Has the size needed to deliver an extremely high standard of optical performance, yet provides outstanding portability; employs a retracting mechanism that can be set on/off without pressing a button and reduces total length for a compact lens that can easily be taken anywhere
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed
  • Fluorine coat applied to front lens surface

NIKKOR Z 35mm f/1.8 S Primary Features

  • Rendering performance that redefines perceptions of what a 35 mm f/1.8 lens can do
  • Sharp resolution even in the peripheral areas of the frame from the maximum aperture, effective suppression of sagittal coma flare that enables superb point-image reproduction when capturing point light sources in night landscapes, and the soft and natural bokeh characteristics expected of a fast (bright) lens
  • Adoption of a new multi-focusing system featuring two AF drive units providing driving power at high speed and with high accuracy that achieves quiet, fast, and accurate AF control, as well as high image-forming performance at any focus distance
  • Adoption of two ED glass elements, and three aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

NIKKOR Z 50 mm f/1.8 S Primary Features

  • Superior rendering ignites creativity, and redefines perceptions of what a 50mm f/1.8 lens can do
  • Thorough suppression of axial chromatic aberration ensures superior resolution with faithful reproduction of the fine textures in subjects, even from maximum aperture
  • Sharp and clear rendering of details from the center of the frame to the peripheral edges, regardless of the shooting distance
  • The soft and beautiful bokeh characteristics at any shooting distance possible only with a fast (bright) lens
  • Adoption of two ED glass, and two aspherical lens elements
  • Nano Crystal Coat adopted to suppress ghosting and flare
  • Adoption of a new, powerful stepping motor (STM) enables quiet and accurate AF control during both still-image capture and video recording
  • In consideration to a dust- and drip-resistance, the entire lens, including moving parts, has been sealed

Mount Adapter FTZ Primary Features

  • Full compatibility with more than 90 lenses and functionality with approximately 360 existing NIKKOR F lenses from AI type onwards2
  • The unique characteristics of NIKKOR F mount lenses can be applied to Z mount system image quality
  • In-camera VR (Vibration Reduction) with three-axis VR is available when attaching a NIKKOR F lens without built-in VR; in-camera VR also performs well with stills and video recording
  • When attaching a NIKKOR F lens with built-in VR, lens VR and in-camera VR effectively work together to compensate for camera shake by enabling three-axis VR.
  • Various sections of the adapter are effectively sealed to ensure dust- and drip-resistant performance equivalent to that of NIKKOR F lenses
  • Designed to be lightweight yet tough with consideration for superior operability as a part of a complete system

Development of the New NIKKOR Z 58mm f/0.95 S Noct Lens that Pursues Ultimate Optical Performance

The NIKKOR Z 58mm f/0.95 S Noct that Nikon is currently developing will be a large aperture, standard 58mm prime focal-length, the fastest lens in Nikon’s history3, manual-focus lens positioned at the very top of the S-Line. It will stand to symbolize the Nikon Z mount system’s new dimension in optical performance.

It has inherited the design concept behind the original AI Noct-NIKKOR 58mm f/1.2, a standard prime lens released in 1977, named for “Nocturne” (a musical composition inspired by or evocative of the night), and was popular for its ability to finely reproduce point light sources as point images. This new Noct lens that is currently in development will take advantage of the advanced design flexibility afforded by the Z mount, pursuing ultimate optical performance. Development continues with the goals of achieving an extremely fast maximum aperture of f/0.95, offering the ultimate in NIKKOR rendering performance with superior detail and sharpness. Additionally, the goal is to achieve beautiful blur characteristics, or bokeh, with good continuity, and ensure outstanding point-image reproduction capabilities for more compelling, three-dimensional imaging.

The NIKKOR Z Lens Roadmap

Information in the roadmap, including release dates, are subject to change. Product names after the NIKKOR Z 58mm f/0.95 S Noct are not yet finalized.

Price and Availability

The NIKKOR Z 24-70mm f/4 S and NIKKOR Z 35mm f/1.8 S will be available September 27 for the suggested retail prices (SRP) of $ 999.95* and $ 849.95*, respectively. The NIKKOR Z 50mm f/1.8 S lens will be available in late October for the SRP of $ 599.95*. The Mount Adapter FTZ will be available September 27 for $ 249.95* SRP (Additional $ 100 savings when purchased together with a Z 7 or Z 6, through 12/31/2018). For more information on these and other Nikon products, please visit www.nikonusa.com.

Articles: Digital Photography Review (dpreview.com)

 
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The Nikon Z is a big step for Nikon but they need to keep being brave

26 Aug

The Nikon Z is a brave and important step for Nikon and, while it might not have got everything right first time, it shows enough promise to encourage existing users to commit themselves to the system. However, to deliver the system’s full potential, Nikon needs to continue being brave.

A brave new lens mount…

It may sound odd but I think the most significant thing about the Nikon Z cameras isn’t that they’re mirrorless: it’s that they use a new lens mount. This may sound like the same thing, but I think it’s informative to separate the two ideas.

A mirrorless design lets the body be a bit smaller and allows a more consistent experience between stills and video shooting, but that’s not that radical. Casting off the existing limitations of your mount and looking to the future: that’s a big step.

Nikon is a company with a long history and a proud 100 year tradition of making excellent products. Whether it’s the Nikon F, F3, FM, D3, D500 or D850, it’s produced some genuinely superb cameras. And then, of course, there are the lenses: it’s 59 years since the company introduced the F-mount and the majority of those lenses can still be used, to various extents, on its latest models.

Moving to a new lens mount, even if you do everything you can to respect history by maintaining backwards compatibility, is a huge step. Canon’s reputation took a knock when it took the decision to abandon its existing FD lenses and move to the EF mount. It was a big move but one that’s been vindicated by how future-proof a large, all electronic mount has proven to be. Sony, conversely, made the decision to squeeze a full frame sensor into its E-mount, rather than try to add a third mount to its lineup.

Nikon showed a series of mockup lenses when it launched the 1 System, but the decision to spell-out its plans for the Z mount represents an unusual degree of candor for the company.

The move to mirrorless was, then, the perfect chance to design a new lens mount and Nikon has clearly gone out of its way to make something flexible. If you asked a team of engineers who’d spent their entire careers working with the restrictions of a narrow-throated, film-era mount to design something new, the vast, adaptable Z-mount is probably what they’d come up with.

And this is promising for the future: it provides plenty of scope for making a wide range of lenses without having to worry about sending light to the corners of the sensor at hard-to-capture oblique angles.

The Z mount compared to the F mount.

…a little shortsightedness?

But, while I commend Nikon for making a break with its past, I worry a little that it’s decided not to share the details of this mount with third party makers.

It’s understandable that, having sold 100 million lenses for your existing mount, you might feel you don’t need anyone else’s help. However, for photographers without any F-mount lenses, the initial lack of third-party support (in terms both of adaptors and native lenses) will look like a weak point.

The dimensions of Sony’s E mount may look somewhat restrictive when compared with the Nikon Z’s but even if you think solely in terms of full frame, it has a four and a half year headstart and native support from both Sigma and Tamron. This gives it a huge advantage in terms of native lens availability and one that it’s likely to maintain if Nikon won’t let anyone else play in its sandpit.

Wouldn’t it be better to open up the mount and make the whole system look more attractive to would-be buyers? After all, you shouldn’t have to artificially protect your own lens sales if you’re confident that yours are better quality or better value than those of third parties.

…and some opportunities missed

Beyond the lens mount, Nikon has struck a similar balance of respecting history and seizing new opportunities: copying much of its widely-admired ergonomics and UI directly across while also making much greater use of the touchscreen than would have made sense on a DSLR.

But the job’s not done. In designing the Z 7, Nikon seems to have used a continuation of its live view AF system (the one no one uses), rather than see the move to mirrorless as an opportunity to re-think how AF would be controlled, given a blank piece of paper.

Nikon has instead opted for a clumsier system adapted from its live view AF tracking system. This requires you to press ‘OK’ or tap on a subject before it’ll start tracking

Initially this will present a hurdle for Nikon DSLR users moving across but that in itself shouldn’t be the deal-breaking argument: these cameras need to attract new users, too. The more compelling argument for more closely mimicking its DSLRs’ through-the-viewfinder AF behavior is that it’s the best in the industry. And it should be: Nikon’s literally spent decades refining it, to the point it’s used by news, action and sports journalists the world over.

Nikon’s 3D Tracking system, where you position an AF point and it tracks whatever was under that point when you initiate AF is brilliant. No matter which system we’ve each come from, there’s consensus in the DPReview office that 3D Tracking represents best practice. There’s a reason why Sony’s mirrorless cameras seem to more closely copy its behavior with every generation (though if they could also take note of Nikon’s system working without the need for an infinite number of AF area modes, that’d be good, too).

Unfortunately, Nikon has instead opted for a clumsier system adapted from its live view AF tracking system. This requires you to press ‘OK’ or tap on a subject before it’ll start tracking, rather than simply tracking based on your pre-selected AF point. Worse still, it requires that you disengage tracking (either by pressing ‘OK’ again or by tapping onto a different subject), rather than simply reverting to your chosen point when you release the shutter button.

This might not sound like much of an inconvenience, but it’s the difference between being able to switch subjects in-the-moment, rather than having to stop shooting, make a change and start all over again. It’s a loss of precisely the immediacy and simplicity that makes 3D Tracking so good in the first place.

To be clear, I’m not criticizing the AF algorithms themselves: we’ve not fully tested it yet but the Z 7’s tracking seems incredibly sticky: my concern is solely about the user interface

Act now, before things become set in stone

As I say, Nikon’s through-the-viewfinder behavior is so good that it would be worth Nikon trying to mimic it in the Z system’s interface. And yes, there’ll be the added bonus that it’ll be behavior that existing users expect. But they need to do it now, before the new, less refined behavior becomes ossified as ‘the behavior our existing users expect.’

So, having made a break with the past to adopt a radical, future-proof lens mount, I call on Nikon to be brave again and redesign its AF behavior. And maybe have a think about whether third-party lenses are a threat or a benefit.

Articles: Digital Photography Review (dpreview.com)

 
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