Osprey in Flight
“Big Fish” – Indian River Lagoon – Ron Bielefeld – Featured Photographer
I have seen dozens of osprey catching fish images, but this one is unique. The trout is huge compared to the osprey. You would think it was too heavy or that it could shake loose. Also, the osprey is not holding the fish very aerodynamically. It would act as a big sail that would really make the bird’s job a lot tougher. Read Ron’s account below to see if he made it back to the nest with his fresh catch. Then view some more amazing bird photography from Florida on Ron’s website www.whistlingwingsphotography.com
Enter Ron:
I have lived along the Indian River Lagoon in east Florida for almost 20 years and watched as the osprey population steadily grew over that period. Basically, living with these birds for that long a period of time I had grown to really appreciate their beauty and their fishing ability. They are master anglers. I had witnessed many times their ability to catch, life out of the water, and then fly large distances with huge fish. My goal was to showcase this ability by capturing it in an image. I spent almost a full week with this goal in mind. During this period I captured many ospreys carrying fish, and finally I was in the right position at the right time with great light to capture this male bringing a huge spotted sea trout back to its nest and waiting mate. It truly was an amazing sight to see this osprey fly with this fish and the relative ease at which it managed the task. I continue to photograph these wonderful birds realizing they are now fairly abundant, but at one time not so long ago they were very scarce. I truly hope we will always have an abundance of ospreys to watch fly and fish, but know we cannot ever take such things for granted. Conservation is key.
Camera settings:
Canon EOS 7D
Canon 500mm f/4 IS
ISO 320
1/2000s
f/ 6.3
Desert Waterfall
“Coyote Falls” – Escalante National Monument, Utah – Joshua Cripps – Featured Photographer
Water in the desert is always a compelling image. Probably because we see a hot dry place and instinctively we get thirsty and warm. Then we notice the water and are minds are tricked into thinking our basic need for rehydration is met. Maybe this is taking it a little too far. Maybe our brains are just looking at this image and saying “Damn what a cool shot. I wish I had taken that!” Either way Josh has taken a stunning image so enjoy his story below and then please view his websites for some more “I wish I had taken that….” images. Also if you happen to be on the central coast of California this spring view his workshops page as well.
Website: http://www.joshuacripps.com
Blog: http://www.joshuacripps.com/blog
Facebook: https://www.facebook.com/JoshuaCrippsPhotography
Photography Workshops: http://www.seatosummitworkshops.com/
Enter Josh:
Call me impulsive, but sometimes I’ll visit a location after seeing only a single photo of the place. The first time I did this I visited L’ile de la Reunion in the middle of the Indian Ocean, all because of an amazing photo by Yann Arthus Bertrand of something called the Trou de Fer. In May 2011 I decided to backpack through Coyote Gulch, Utah, thanks to a spectacular shot of the place by photographer Michael Anderson. This was my first southwest backpacking experience and it did not disappoint: The gulch was rife with soaring walls, massive amphitheaters, gigantic rock arches, and even a number of waterfalls. What made the experience truly unique was the backpacking itself. There was hardly a trail, per se, but rather all the hiking was done in the sandy-bottomed wash that flowed through the canyon. It’s hard to beat hiking barefoot in 80° water through a southwest desert paradise.
Nikon D7000
Tokina 12-24 f/4 at 12mm, image cropped in Photoshop to ~14mm
ISO100
f/9 – sharpest spot on my lens, allows for sufficient DOF on a crop sensor
Two shots at 1/6 sec and 10 sec in order to get sharpness in the tree leaves and smoothness in the water
Lee 3, 2, and 1-stop soft GND filters stacked to use as a solid ND for a longer shutter speed
“Calm Water, Lost Horizon” – Inle Lake, Myanmar – Bill Schaefer – Featured Photographer
Every time I view this image my body just relaxes instantly. In fact, it is taking me a while to create this post because I keep drifting off into the photo. This would be a great photograph to have hanging over my desk reminding me to slow down every once in a while. Chill. I love the lack of horizon, the calm water, and how the fisherman seems to be stuck in his own time and space passively dragging me there with him.
While browsing through Bill’s portfolio of Asia, I also noticed he has an uncanny ability of getting indigenous people to smile in his portrait shots. I can only assume this is a testament to his glowing personality as well as his command of photography. Find out for yourself at any of the links below.
website: http://www.lensonasia.com/
500PX: http://500px.com/LensOnAsia
Tumblr: http://www.tumblr.com/blog/lensonasia
Enter Bill:
Inle Lake in central Burma is known for its fishermen, who use large conical baskets to trap fish in the lake shallows. I was presented with a slightly different scene of a fisherman setting smaller cylindrical traps. The light was softly diffused through the morning mist that obscured the horizon, seamlessly blending the water and sky. The water was calm and, as our boatman quietly maneuvered the 50 foot longboat around the fisherman, I knew I could get a reflection in the water. The challenge was to wait until I could capture the background without any other elements except the blending of water and sky. The result captures the serene, unhurried beauty of the landscape and the people of Burma.
Camera: Nikon D300
Lens: Nikon 16-85 f/3.5-5.6 VR DX
Shutter Speed: 1/250
Aperture: f/5.6
Focal length: 26 mm (crop sensor value 39 mm)
canon 5d mark iii review
canon 5d mark iii review
Canon 5D Mark III Review – Product Review
B&H Photo is now shipping the Canon EOS 5D Mark III!!! If you have pre-ordered one from B&H or are considering ordering one, below is a great continuing Canon 5D Mark III review from Trent Chau (CLICK HERE for his website and to track the coming days).
Canon 5D Mark III Review – Putting it through the fire
The Canon 5D Mark III just came out, and it’s time to finally update this website with another review. Before we began, I want to give a big shot out and thank you to Aperturent.com for helping supply the camera for review and also supporting my photography. If this review, or any past reviews in anyway, shape or form has helped you out, please consider Aperturent.com the first place to rent your photography equipment from.
As with my Canon T2i review back years ago, this review is a LIVE active review. Which means starting from today (03.21.2012) til about next week I will be putting this camera through some test, shoots, and updating as much as I can the night of. You will see coverage from ergonomics, performance, aesthetics, and more as I shoot weddings, corporate events, portrait sessions, and potentially on a boat next week. Why a live review? The web will be full of great reviews (Dpreview, the-digital-picture.com, and more) of the 5d Mark III, I wanted to show the camera used in the field by an active photographer. So less studio setups and shooting the same scene, and more real world usage. Considered this a review that compliments the other fine reviews you see written on the web.
Day 1 – Ergonomics, feel, and comparison to the 5D Mark II
As a long time user of the 5D mark II, and before that the classic 5d it’s extremely important to me that the transition to the newer camera doesn’t throw a curve ball. The first thing I noticed was that the 5D Mark III grip and ergonomics feel the same as the 5D mark II. The plastic composite material used on the camera feels a lot more textured than the Mark II which for some reason rubs me the wrong way. The Mark III uses the same button lock mode dial on top of the camera, along with having the power switch on top like the 7D and 60D. Looks like this will be the standard from now on.
So here’s the important part to me, what changes are cool and what sucks: If it’s green, it’s great, if it’s red, it sucks. Yellow and it means interesting change.
Switch dial for movie or photos – Yay to Canon for bring this switch in from the 7D. I love the movie functionality on the Mark II, but so many times have I accidently pressed but the liveview button and than hitting the set button to start recording. I once had a 12 minute recording on the happenings inside my camera bag because of this….and trust me there wasn’t much happening. So big thumbs up for having this option.
What? You moved the image zoom option – Okay this is REALLY annoying. Before hand on EVERY canon camera you can press the upper right buttons on the back of the camera to zoom into your image. Now Canon has gone all NIKON on us and made it so you have to press a button on the left to start the zoom option, than use your mode wheel to zoom in and out. Yeah once you get used to it it’s probably gonna be better…but it’s so different from everything from the 20d to the 60D….it’s just hard to break 8 years of habit.
That viewfinder is NICE – The new viewfinder is big, and it’s very D700 like. The image area is just beautiful and the coverage seems to be the advertised 100%. Even while shooting in a darkly lit area, I was able to see clearly through the viewfinder.
3.2 compared to 3 is a big difference – While it may not seem like much, the extra .2 of the lcd makes a huge difference and the new lcd is downright beautiful. Images pop out on the back, and the comparison display mode is actually pretty useful. Those who haven’t seen the flush on camera look that the 7D and Mark III has with the lcd will be taken aback a little, but you get used to it.
Picture Controls is 2 steps away – Not all photographers use picture controls, but as someone who shoots a lot of black and white, and also straight to jpg for some clients it’s nice having a dedicated picture control button. Because Canon has introduced a HDR feature and a Photomerge feature to the camera, picture controls is now accessed the top left picture button, than one more step. While this is far from a game ender, it was nice having a dedicated picture control button.
Menu is 6 buttons up – Being able to use your camera in the dark is what really makes a professional work quick, so having a button moved from where we have been used to it for 7 years is kinda annoying. The menu button has been moved up. It’s only half and inch away, but it’s a little annoying.
High Iso example, and some general photography
Touting 2 stops of iso performance difference, the Mark III has a lot of people excited. I took a quick 12800 iso picture turning in camera noise reduction off. Click to view the image below. Also there are some samples of general photography. This section will be further updated with more samples.
Becky at the Landmark Diner, available light. Iso 12800. No noise reduction done on photo, straight out of camera.
Canon 35 1.4L @ 1.4, 1/2500, iso 12800
Becky in black and white – Canon 24-70 @ 5.0, iso 50
Straight from the Camera using picture style black and white with high sharpness.
Elizabeth – Simple headshot – post in Photoshop CS 5.5
Solitude and a mixture of warm and cold – Monochrome picture style straight from camera.
Comparing to a 5D Mark II
There are some physical differences between the 5d Mark III and II that you quickly get used too, but something else I really wanted to see was if there was a “Look” difference between the two. The best way to do that was to shoot the exact same photo using both cameras, with the same lens, the same settings, and on auto white balance. Here are the results.
Image comparison between the Mark III and Mark II.
The HDR Feature
The HDR feature on the camera is pretty cool. I”m not a HDR fan, but HDR is something that’s been popular since digital went main stream. Here’s a few samples of handheld photos using the HDR option. Concerning ease of use, the HDR is SUPER easy. And it’s can be really reasonable it in the image quality it provides.
HDR Mode on 5D Mark III – With futher post in Photoshop 5.5 to finalize file.
HDR option on camera – Vivid – Straight from Camera.
Day 2 – Using the 5D Mark III for a corporate event
I’m going to simply say this. The Canon 5D Mark III WILL REVOLUTIONIZE the way Canon Event, Wedding, High Volume photographers will shoot and process. The hyper fast and accurate autofocus, the massively impressive iso performance, the manageable file size, accurate metering, and all these small little things just make the 5D Mark III blow it’s older sibling the 5D mark II out of water. The 5D mark III easily performed on par or better than the 1D Mark III I used to own back in the day, and without a doubt I was floored by the super clean iso 2000-3200 files from the camera. Just the mere fact that you can now shoot iso 2000 files that look like iso 800 files and save battery life on your flash is wonderful to me. I shot day one of the Hinman Dentist convention in Atlanta, took over 800 photos with my 580 ex II and it was still refreshing like it had new batteries in it. This wasn’t the case with the 5D mark II. Depending on the next few days of shooting, if this stays consistent I’m selling my 2 5D Mark II’s and not looking back.
ISO 2000 straight of camera, completely usable. Canon event photographers, our world just changed.
So how did I come to this conclusion? Well as mentioned today was spent shooting a corporate event. As much as it’s wonderful shooting beautiful models, that’s not the bread and butter in my photography life. Events, Weddings, and all that pay the bills. Because of that having a camera that makes my job easy, yet keeps my quality high is important to me. The 5D mark II has been an absolute winner the last 3 years. Other than some sporadic af issues in extreme situations like perfect darkness, and low contrast situations, I’ve been pretty successful using a CENTER POINT only system the last 3 years. With the Canon 5D Mark III I carried that mentality for today, and I will say this..it wouldn’t miss a shot at all. It locked focus ultra fast, and at 100% zoom post shot was spot on focus wise. This thing is INCREDIBLE.
CLICK BELOW TO VIEW THE Canon 5D Mark III AT B&H PHOTO (NOW SHIPPING!)
canon 5d mark iii review
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World’s Cutest Puppy
“Puppy in the Snow” – Elmira, New York – Larry Marshall – Featured Photographer
We seem to have a lot of fans here that are big into www.StumbleUpon.com. Well this little guy was born to be stumbled so go ahead and click the StumbleUpon button below and share him with the world. Don’t worry! We all know you have the cutest puppy in the world. Don’t you? You have to admit this is at least a runner up to when yours was a little fur ball. From a photography standpoint this image is outstanding. First Larry has an adorable subject. Second, he is not centered in the photograph so it is more pleasing to the eye. Finally the blacks are perfectly exposed and those eyes are directly trained on yours as if waiting for a Scooby snack or warm blanket. To see this little guy all grown up, please check out any one Larry’s blogs or portfolios below. If pit bulls are more your breed, he has some amazing shots of them as well. Not only does he have amazing dog photos, but he also has some killer shots of my town San Diego, CA.
Web: http://larrymarshallphotography.com
Fine Art America: http://1-larry-marshall.artistwebsites.com/
500px: http://500px.com/LarryMarshall
Facebook: https://www.facebook.com/pages/Larry-Marshall-Photography
Pinterest: http://pinterest.com/larrymarshall/
Enter Larry:
This is a photo of my dog “Pilot” when he was 8 weeks old in the snow in Elmira, New York. Yes, I flew all the way from San Diego to New York just to pick him up. My intention was to train Pilot as a service dog, which he now is, so I was very particular about selecting a good breeder. Most people ask me why I named him Pilot. Well, I was on a US Airways flight on January 15, 2009 flying into New York. That date may seem familiar to many of you. It is the day that Chesley (Sully) Sullenberger crash landed Flight 1549 into the Hudson River. As it turns out that we were the next plane to land behind him. As a way to honor Sully, I named my dog Pilot.
Camera: Canon Powershot G10 (didn’t bring my 1DS Mark III with me)
Shutter Speed: 1/500
Aperture: f/4
ISO: 80
Most Beautiful Valley in the World
“Soulside Journey” – Cerce Valley, France – Alexandre Deschaumes – Featured Photographer
Is anyone else thinking “Lord of the Rings”? The power of this landscape is overwhelming. The aqua lake at the bottom of the valley is like a cherry on a double chocolate sundae. The crazy part about this image is although it looks one in a million, Alexandre recreates this feeling in several other images in his outstanding portfolio. Read about his journey below then view his portfolio (CLICK HERE) and then follow his endeavors on Facebook (CLICK HERE).
Enter Alexandre:
I remember this journey through the Cerce Valley (French Alps, quite close to Briançon) as one of my most precious memory in the mountains. I was with close friends for a 3 days hike in mid-September. The weather was ominous, and the whole landscape was quite other worldly, with brown – red – yellowish patterns and gloomy rock formations. After a first night at Lac des Cerces, 2400 m, we continued our way towards Ponsoniere Pass, 2600 m. I saw the light piercing through the clouds and I ran to the pass. I beheld this vision with darkness all around and the light on the turquoise lake. Timeless. After one minute the light disappeared. This picture has a strong contrast and a warm white balance. I also used Lee ND grad filters and added some vignette.
(click on the book to reserve your copy)
Beta Test Adobe Photoshop CS6 – Product Review
Have you been waiting for Adobe Photoshop CS6 for what seems like an eternity? Well your wait is over…. almost. Check out how you can download the Beta version and become a Beta tester. This is essentially where you download the unreleased program and then play with all the new features until the official release. Adobe encourages this to work out any bugs and build some hype for the new version. So read about it in the official press release below and then download it and have some fun.
First Major Release since April 2010 Packed with New Features and Huge Performance Enhancements – Free Beta Test Adobe Photoshop CS6
SAN JOSE, Calif. — March 22, 2012 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced Adobe® Photoshop® CS6 beta, a preview of what’s to come in the next release of the industry standard in digital imaging, is available as a free download from Adobe Labs. Customers can download the beta, try out the experience and provide feedback to the product team. Packed with groundbreaking new innovations,featuresand incredible performance enhancements, Photoshop CS6 beta is available for the Mac OS and Microsoft® Windows® platforms. The final release is expected in the first half of 2012.
“Photoshop CS6 will be a milestone release that pushes the boundaries of imaging innovation with incredible speed and performance,” said Winston Hendrickson, vice president products, Creative Media Solutions, Adobe. “We couldn’t wait to share this beta of Photoshop CS6 with our customers and are looking forward to hearing from them and seeing the ways they are incorporating the beta into their daily creative workflows.”
New Features in Photoshop CS6 Beta
Photoshop CS6 beta demonstrates Adobe’s focus on huge performance enhancements, imaging magic and creativity tools that offer customers a new experience in digital imaging. Key features include new additions to the Content-Aware tools: Content-Aware Patch allows greater control by letting users select and duplicate an area of an image to fill in or “patch” another, and Content-Aware Move lets users select and magically move an object to a new place in the image.
In addition, the Photoshop CS6 beta offers all the features of Adobe Photoshop CS6 and Adobe Photoshop CS6 Extended, such as new 3D editing features and quantitative imaging analysis capabilities. These features will be included in the shipping version of Photoshop CS6 Extended when it becomes available.
Pricing and Availability
The Photoshop CS6 beta is available immediately as a free download in English and Japanese. At installation, users will be required to provide an Adobe ID to complete a one-time login and online product activation. For information on how to install Photoshop CS6 beta, visit www.adobe.com/go/photoshopcs6. Customers can submit feedback via the Photoshop CS6 beta forum. Users can also connect with the Photoshop team via the community-powered site; on Facebook; YouTube; Photoshop.com blog; or via Twitter.
Adobe Photoshop Family
Adobe Photoshop and Photoshop Extended are at the heart of the Photoshop family, joined by solutions for users at every level who want to bring out the best in their digital images either at home, in the office or on the go. Coupled with Adobe Photoshop, the recently released Adobe Photoshop Lightroom® 4 addresses the workflow needs of amateur and professional photographers, helping them create, manage and showcase images in impactful ways. Adobe Photoshop Elements provides consumers with powerful yet easy-to-use tools that organize, edit, create and share photos memories. For mobile devices, the Adobe Photoshop Touch app transforms images with core Photoshop features custom-built for tablets; and Photoshop Express is a free app for simple photo fixes and enhancements, and sharing to social networks.
Elephant Camouflage Etosha National Park, Namibia
“The Godfather” – Etosha National Park, Namibia – Peter Delaney – Featured Photographer
Do we have any elephant fans out there? I bet after checking out his portfolio we will have a lot of new Peter Delaney fans. When I first saw this image it looked like this huge elephant was trying to hide behind a low lying cloud, hence, the “Elephant Camouflage” title. Below is a very detailed story about this bull elephant that gives the sense you are on the northern Namibian plains with Peter. Please check out Peter’s blog blog.peterdelaney.co.za and website www.peterdelaney.co.za after you learn the story of “The Godfather”.
Enter Peter:
While he stands knee deep in the waterhole his eyes are closed as he dozes off. Now and again this giant will swish his tail or fill his trunk to spray his massive frame with the cool grey liquid. He is big – 4 meters tall and over 4 ton in weight, he is the “Godfather” as I affectionately call this giant elephant. It’s two in the afternoon and the heat is relentless; over 30 degrees Celsius and no shade.
It’s been the same routine for weeks now. The Godfather and his two shadow bulls arrive early afternoon and commandeer the waterhole. This is the only water for 20 sq kms and the animals have travelled all day to drink this life saving water. But this “Trinity” will not give way or tolerate any other animal to drink in their presence.
A multitude of animals, springbok, gemsbok, zebra, ostrich, giraffe, even lion have waited hours for the elephants’ departure so that they may quench their thirst. From a photographer’s point of view watching this action is like manna from the heavens as there are attempted lion kills, sporadic jostles between herd males vying for dominance and occasional visits from black rhino that appear like specters as the sun fades below the horizon.
When the elephants do eventually leave my heart skips a beat as I prepare for the shot that has eluded me for so long. In my mind’s eye I have visualized this scene many times. But in order for this to happen I need them to walk towards me. But each day I groan inwardly and at another missed opportunity as the trinity head off to dust bath in the opposite direction.
Today however will be different as that morning I had seen the three bulls feeding from a camel thorn tree away from their usual feeding place. Soon it will be time for them to depart. I leave, anticipating their route, and wait silently for them to come in to view. I have checked and rechecked my equipment and decided upon the camera and lens combination. I now relax and control my breathing as they come in to view.
The next ten minutes are a bliss of forgetfulness as I zone in to the task at hand; only one moment stands out.
He stands still before me in all his magnificence, raising his trunk filled with the red Kalahari dust. In one fluid movement he sprays his forehead and for one brief moment he is covered in the magic of dust and light.
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*2012 All Rights Reserved. Charles Glatzer.*
“Charging Brown Bear” – Brooks Falls, Alaska – Charles Glatzer – Featured Photographer
Photo Travel Review Magazine April, 2011 said… ”In the world of nature photography, one name stands above all others — Charles Glatzer
I have been admiring today’s guest photographer, Charles Glatzer, and his work for several years. He consistently gets that “lucky shot” time and time again due to rigorous planning and knowledge of his subject. Oddly enough even today’s spectacular image of a charging brown bear seems like a normal image when compared with the rest of his portfolio. Essentially just pick a subject that he has photographed and chances are it will be one of the best photographs of that species you will have ever seen. Please read the story below about how Charles prepared for the charge of this giant beast then slide over to his portfolio for a special glimpse into the world of professional wildlife photography. Here at www.PhotoBotos.com, we promise a 2 minute vacation every day, but, don’t be surprised if you wonder where the last 20 minutes went after looking through his stunning images.
www.shootthelight.com
http://shootthelight.com/#/Testimonials/
www.shootthelight.com/blog
http://500px.com/Chas
Charles runs workshops year round to remote parts of the world. You could even join him during the salmon run at the legendary Brooks Falls in Alaska and improve your photography while face to face with 500 lb. Alaskan brown bears. Who knows maybe you could have the next cover of Outdoor Photographer Magazine.
Need more proof? This photo was taken by Iain Williams (one of our past Featured Photographers) during one of Charles Glatzer’s spirit bear photo tours. CLICK HERE
Enter Charles:
The brown bear image was taken in AK during the summer salmon run. Luckily the bear was young and slightly inept at catching salmon. After watching the bear miss a few opportunities, I knew the bear would return to the same spot to try its luck once again. Positioning myself low to the water and directly across from the bear’s last attempt I rotated the camera to vertical, moved the AF sensor two points above center, raised my shutter speed, and waited for its next charge into the pool. I was fortunate, firing a burst as the bear charged the pool it looked up just before diving in. Observing subject behavior and being pro-active most often leads to better imagery. The image appeared on the cover of Popular Photography magazine.
Camera; Canon 1D Mark III
Lens; Canon 300 f/2.8 IS
Exposure; 1/1000 @ f/7.1
ISO; 800
Nikon D800/D800E 36.3 MP CMOS FX-Format Digital SLR Camera – Press Release – Product Review
A new Nikon FX-format digital SLR camera with the world’s highest effective pixel count–36.3-million pixels–for noteworthy definition and image quality Nikon D800 Review
TOKYO – Nikon Corporation is pleased to announce the release of the Nikon D800 FX-format digital SLR camera. The D800 offers the world’s highest* effective pixel count of 36.3-million pixels, and is equipped with the new EXPEED 3 image-processing engine and a 91K-pixel (approximately 91,000 pixels) RGB sensor for overwhelming definition and image quality. Nikon will be exhibiting the D800 at the CP+ CAMERA & PHOTO IMAGIING SHOW, to be held Thursday, February 9 through Sunday, February 12 in Yokohama, Japan. This exhibition is open to the public.
*Among interchangeable lens digital SLR cameras equipped with image sensors conforming to the 35-mm film size as of February 7, 2012
The D800, a new FX-format model offers a noteworthy effective pixel count of 36.3-million pixels. At its core is superior image quality equal to that achieved with medium-format digital cameras. The D800 is also equipped with a number of new functions for a high level of added value, all in a compact and lightweight body.
In addition to a new Nikon FX-format CMOS image sensor and the new EXPEED 3 image-processing engine, specifically optimized for Nikon digital SLR cameras, the D800 is equipped with a new 91K-pixel (approximately 91,000 pixels) RGB sensor that supports the Advanced Scene Recognition System with its noteworthy advances in scene recognition performance. The camera is also equipped with a number of new functions, including Multi-area mode Full HD D-Movie that enables movie recording using either the FX-based movie format or the DX-based movie format.
For users who demand an even greater sense of definition, Nikon also releases the D800E, a model that offers increased resolution for images with more dimension.
D800 Development Background
Reflecting Nikon’s efforts to respond to a number of demands, including those for a higher pixel count, better image quality, and a smaller and lighter camera, the D800 is a digital SLR camera developed to capture still images with the superior resolution and record movies with the true high-definition picture quality demanded not only by advanced amateur photographers but also by professionals.
Nikon is responding to the needs of users who demand more from photographs and movies with the recently announced D4, a flagship model that combines excellent definition and image quality with superior high-speed performance, and the D800, a model that offers the ultimate in resolution demanded for nature and studio photography.
D800 Primary Features
- New Nikon FX-format CMOS image sensorThe D800 is equipped with a new Nikon FX-format CMOS image sensor and the new EXPEED 3 image-processing engine for Nikon digital SLR cameras. This new image-processing engine is faster and offers greater performance. The camera also offers the world’s highest* effective pixel count of 36.3-million pixels. When combined with the sharp rendering of NIKKOR lenses, images exhibiting resolution equal to that achieved with medium-format digital cameras are possible.
The D800 also responds to the demands of professional photographers with a standard sensitivity range of ISO 100–6400, and additional support for equivalents of ISO 50 (Lo 1) and up to ISO 25600 (Hi 2), for superior image and picture quality in dimly lit situations, such as just before sunrise and just after sunset, with shooting of still images as well as movie recording.
- *Among interchangeable lens digital SLR cameras equipped with image sensors conforming to the 35-mm film size as of February 7, 2012
- New 91K-pixel RGB sensor for the more accurate Advanced Scene Recognition System. The D800 is equipped with a new 91K-pixel (approximately 91,000 pixels) RGB sensor. When a human face is detected in the frame, 3D Color Matrix Metering III bases exposure control on the brightness of that face so that the face is optimally exposed even with backlighting. In addition, the superior resolution of the metering sensor, which makes full use of an incredible 91,000 pixels, enables extremely precise analysis of the scene for more accurate control over autofocusing, auto exposure, i-TTL flash control, and auto white balance.
- *There is no display in the viewfinder that shows when a face or faces have been recognized.
- Multi-area mode Full HD D-Movie for movie recording using one of two movie formatsThe D800 records movies exhibiting superior resolution with optimal processing of information acquired from the 36.3-million pixel image sensor. Recording of 1920 x 1080p/30-fps full-HD movies is supported, and users can choose to record using the FX-based movie format or the DX-based movie format according to recording conditions. The FX-based movie format offers a shallow depth-of-field with an emphasis on blur characteristics while the DX-based movie format enables recording of movies that bring subjects closer when lenses with short focal lengths are used. The D800 is also equipped with a headphone jack and supports precise adjustment of microphone sensitivity. In addition, it supports simultaneous display of movies or the movie live view display in the camera monitor and on an external monitor. Further, the D800 responds to the needs of professionals who require uncompressed movie files with the ability to record movies directly to an external HDMI recorder in movie live view mode. The D800 also offers a time-lapse photography function that captures images at a selected interval and then combines the images to create a time-lapse movie that shows the changes in a particular scene that occur over time.
- Viewfinder frame coverage of approximately 100%*1and a lightweight and durable water- and dust-resistant bodyThe viewfinder built into the D800 supports a frame coverage of approximately 100%*1 and magnification of approximately 0.7x*2. Adoption of a magnesium alloy for the body gives the camera the same level of durability as the D700with a weight approximately 10% less.
- *1With FX-format image area
- *2With 50-mm f/1.4 lens at infinity, -1.0 m-1
- Support for high-speed continuous shooting and a variety of battery types with the Multi-Power Battery Pack MB-D12 (optional) The MB-D12 supports the Rechargeable Li-ion Batteries EN-EL15 and EN-EL18, common AA batteries, and the AC Adapter EH-5a/b(with Power Connector EP-5B). When the MB-D12 is mounted on the D800, high-speed continuous shooting at approximately 6 fps* using the DX-format image area is possible. The MB-D12 also offers the added convenience of controls, including shutter-release button, AF-ON button and multi-selector, for vertical shooting. What’s more, the same seals as those used for the D800 with its magnesium body offer superior resistance to dust and water.
*When powered by the AC adapter, or AA batteries or Rechargeable Li-ion Battery EN-EL18 with the MB-D12. Measured according to CIPA guidelines.
- Other D800 Functions and Features
- A 51-point AF system for improved subject acquisition and focus performance under dim lighting. In addition, 11 focus points (five at center with an addition three to each side) are fully functional when lenses with a maximum aperture of f/8 are used.
- A 3.2-inch, approximately 921k-dot LCD monitor with reinforced glass, automatic monitor brightness control, and wide viewing angle
- A virtual horizon that shows the degree to which the camera is tilted sideways (roll), or forward or backward (pitch) with display in the monitor and viewfinder
- A new shutter unit that has passed testing for 200,000 cycles and supports a maximum shutter speed of 1/8000 s and flash sync speed of 1/250 s
- Continuous shooting at 4 (FX-format/5 : 4 image area) or 5 (DX-format/1.2x image area) fps*
- *When powered by a Rechargeable Li-ion Battery EN-EL15
- CompactFlash and SD dual memory card slots
- Support for SuperSpeed USB (USB 3.0)
The D800E with specifications for even greater resolution with an effective pixel count of 36.3-million pixels
In-camera disabling of the aliasing and moiré pattern reduction operation performed by the optical low-pass filter built into the D800E allows light passing through a NIKKOR lens to strike photodiodes directly for even greater resolution. This makes this model optimal for landscape and artistic photography with which higher resolution and clear definition is demanded. With the exception of the modification indicated above, all other functions and characteristics are the same as with the D800.
- Aliasing and moiré patterns may be more noticeable in images captured with the D800E with some subjects, scenes or shooting conditions.
- Optical low-pass filter IR coating and anti-reflection coating performance is the same with both the D800 and the D800E.
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“Rowardennan Bonsai” – Rowardennan, Loch Lomond, Scotland – Karl Williams – Featured Photographer
Whoa! An image from Scotland featured two days in a row? When you have two amazing photos, why not? The famous tree looks like it was painted in oil while the reflection is a perfect water color rendition. When Mother Nature and Karl team up, beautiful things happen. Don’t believe me? Then slide on over to Karl’s website below after reading about how he shot this image and you will want to book your next flight to the British Isles.
karlwilliamsphotography.co.uk
Enter Karl:
This tree, known widely as the Rowardennan Bonsai for obvious reasons, is a Scots Pine growing in a soil-filled pocket of rock at Rowardennan on the Eastern shore of Loch Lomond, the largest inland body of open water in Scotland (and, in fact, mainland Great Britain). The tree is a magnet for photographers but has two notable problems shot-wise, the first of which is that the precise location and the water level in the Loch often combine to make it extremely difficult to get a good set-up point to isolate the tree from a potentially distracting background. The second, and greater, problem is that the area is also a magnet for campers – many of whom appear to have a perverse desire to pitch their (seemingly always bright red) tents in the most inconvenient and unavoidable (from a photography standpoint) position possible, and many of whom can’t resist the opportunity (a) to get involved in the photographic process by “posing” in the field of view or, worse still, (b) to give advice.
On this particular day, I was lucky – the breeze wasn’t strong enough to give rise to “ghosting” of tree branches with a multiple-shot HDR set of images, the water level was low enough to get a suitable set-up point in the dry, and there were no “happy campers” to contend with. The long exposure was an attempt to bring some “regularity” to the water surface and thereby enhance the reflection of the tree for compositional purposes. One minor problem arose, though: an unwanted duck swam through one of the shots but the long exposure (and a little bit of cloning at the processing stage) got rid of any “nasties” from him. (Q: Do I ever shoot wildlife? A: No, but I’ve been sorely tempted on occasions!).
One final point – in answer to those who might be curious as to the thought-processes and emotions which drove me to take this shot: the only thought that ran through my head prior to taking this shot is that which goes through my head with ALL shots – “Hmm, I think that’ll go!”. Sorry to disappoint, but it really is that simple!
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Sony NEX-7 with Carl Zeiss 24mm f/1.8 Sonnar ZA
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Sony NEX-7 24.3 MP Compact Interchangeable Lens Camera – Product Review
Ever since John Wilhelm was a Featured Photographer with “Zottel is Back“, we have had a ton of emails about providing a Product Review on the Sony NEX-7 that John used to capture the image. Well, we reached out to Lloyd Plourd and he allowed PhotoBotos to use his review below. After you are done reading his review of the Sony NEX-7, you can check out his other reviews HERE.
Here is Lloyd:
The Sony NEX-7 is the brand’s flagship Compact System Camera and is one of only two with a built-in viewfinder, but it sure is expensive…
While other manufacturers have bolstered their lower end compact system camera offerings, Sony has gone the other way and introduced a semi professional flagship model in the Alpha series Sony NEX-7.
This contender is notable for being one of only two current models, the other being the robust Nikon V1, to include an integral viewfinder alongside a regular LCD. Just like on a DSLR you have a choice of two ‘windows’ via which to compose shots.
Additionally, Sony offers a very high, competition-trouncing effective resolution of 24.3 megapixels. This is delivered via a physically large APS-C sensor as also found on DSLRs. Most rival interchangeable lens compacts offer sensors that are only slightly larger than those found in regular pocket point and shoots; a bigger chip in theory equals better quality pictures and video.
The knock-on effect however is lenses for Sony’s NEX system are physically larger than the competition too, which won’t be to everyone’s taste. Neither will be the eye-watering price, $1,488.81 though that includes the body (1,317.38 alone) plus jack-of-all-trades 18-55mm E-mount lens offering the 35mm equivalent of 27-82.5mm, or a 3x zoom.
The lens features built-in stabilisation – worth having as anti shake isn’t built into the NEX-7 body.
Sony NEX-7: Controls
In common with NEX predecessors the body design of the Sony NEX-7 is minimalist to the extent that it almost looks unfinished. This is accentuated by the fact it includes a total of three unmarked buttons and two unspecified dials, latter of which can provide instant access to shutter speed, ISO and exposure settings when shooting in one of the creative modes.
The control layout is positioned so that it falls readily under forefinger and thumb of the right hand. Rather too readily on occasion: we managed to accidentally hit the video record button positioned beneath the far right dial when otherwise attempting to adjust exposure.
Up top we get the familiar on/off switch encircling the shutter release button, a set-up which echoes a digital SLR, plus small buttons for playback and flash activation that we might expect on a pocket compact. Integral flash is of the neat pop-up variety, while a top plate hot shoe is provided for accessories.
On the back plate, a scroll wheel that likewise allows the user to zoom through the likes of ISO options can also be used to tab through settings at a more considered pace with a gentle edge press, while the function of the two buttons flanking it only becomes apparent with the camera is switched on.
These button functions also change dependant on which settings are selected. Though certain operational aspects are commonplace then, like on all NEX models, you’ll probably want a short period of familiarisation before you start shooting in earnest.
Sony NEX-7: Screen
As noted at the start, there’s the unusual choice here of composing shots and videos via two screens. There’s the eye catching widescreen format 3-inch, 921k-dot resolution LCD that takes up two thirds of the Sony NEX-7’s backplate, plus the smaller OLED technology viewfinder window with 2,359k dot resolution and prominent eyecup located top left of it.
The larger LCD screen isn’t a touch screen yet is notable for the fact that it is angle adjustable, so can be tilted up or down to better enable high or low angle shots respectively, or aid visibility in direct sunlight. The alternative is the smaller viewfinder window – which Sony calls its ‘Tru-Finder’.
It’s electronic, as opposed to optical, so only comes into play when the camera is switched on; you can’t remove the lens cap and line up the shot mwithout the camera activated. An eye sensor cleverly switches on this EVF as it detects the user’s pupil, thus seamlessly allowing the photographer to transfer their gaze from screen to the other without any button pressing.
With a 100% field of view and near like-for-like 1.09x magnification factor, its smaller size means that it suffers in comparison to the larger screen below, most noticeably when shooting in low light. Otherwise it’s nice to have both options – but of course there’s that premium to pay.
Sony NEX-7: Battery
The Sony NEX-7 comes bundled with a NP-FW50 lithium ion rechargeable battery out of the box, plus a dedicated mains charger to get things up and running. In lasting approximately 335 shots from a full charge, the NEX-7 gives an acceptable performance that compares well with close rivals whilst not being especially standout.
Sony NEX-7: Picture quality
Image quality is the NEX-7’s chief selling point and stunningly, despite the almost impossible hype in the build up to its release, with unadulterated Raw and compressed JPEG file formats or combination of both at our disposal, it doesn’t disappoint. Attention-drawing shallow depth of field effects are possible for portraiture, even using the catch-all kit zoom.
And though grain is visible at top whack ISO16000 light sensitivity setting, it’s almost attractively fine. The Sony furthermore offers up to 10 frames per second stills capture for action photographers,plus the company’s regular panoramic modes, including 3D option viewable only on suitably equipped TV, for landscape photographers.
For low light shooting, a comprehensive ISO range betters all but the highest end digital SLR in stretching from ISO100 to a see-in-the-dark ISO16,000.
Yes the price tag is high, but you get a lot for it. Digital filmmakers will enjoy having both Full HD 1920×1080 pixels capture at a choice of frame rates, including 50 frames which when output at 25fps provides a cinematic quality, plus a less bulky alternative to the industry standard Canon EOS 5D MKII at their disposal.
Sony NEX-7: Verdict
The 24.3 megapixel, 1920×1080 video shooting, APS-C sensor-incorporating Sony NEX-7 is the priciest interchangeable lens compact to date.
Luckily for Sony then it’s arguably the best, with a performance that should satisfy the semi pro. Even if it does fall short of fulfilling the original ‘DSLR like quality in compact camera form’ brief by being too large to fit even in a jacket pocket with 3x zoom attached.
We enjoyed the angle adjustable LCD and it’s one of a rare few to feature an electronic viewfinder built-in rather than just available as an optional extra (required for Olympus and Panasonic ranges). If high resolution is your top wish, you might like to investigate the rival Samsung NX200, whilst the Nikon V1 is otherwise Sony’s closest competition with its own integral viewfinder.
Though omitting built-in anti shake, the Sony Cyber-Shot NEX-7 incorporates just about all that anyone could want from a compact system camera – including high resolution stills and video with stereo sound, large sensor, decent range of compatible optics, adjustable LCD and separate OLED viewfinder. The pro-level price is the only thing that sticks in the throat.
