Nikon Nikkor 85mm f1.4 G

The new Nikkor 85mm f1.4 G is expected to be a perfect portrait lens.

Yesterday, Nikon announced the upcoming release of four new Nikkor lenses (available in September), two or three of which are aimed primarily at amateur photographers. However, nestled in among the bunch is a lens that will have broad appear to portrait and wedding photographers: the Nikkor AF-S 85mm f/1.4G . As we all know, the range from 80 to 105mm is classic for portrait work. With today’s Nikon APS-C sensors, the 85mm becomes a 127mm, which is still very close to that range, making this lens suitable for photographers working with full frame or crop sensors.

But what’s so great about this lens in particular? At f1.4, it will give you an extra 2/3rds of an f-stop of extra light over the f1.8 model. Not really a big deal, especially considering the performance of today’s VR lenses (which provide a full 4 stops in many circumstances) and CMOS sensors at high ISOs. No… what today’s photographers are interested in is the shallow depth of field and bokeh (ie, blurred quality of the out-of-focus portion of the image). The lens features 9 rounded aperture blades to keep the background bokeh buttery smooth.

“But wait!” you say. “Doesn’t Nikon already offer an 85mm f1.4 lens with 9 rounded aperture blades?” Continue reading »

GHTime Code(s): 5097b nc 3840f 3e24a 
Canon 7D vs Nikon D300s

Canon 7D vs Nikon D300s

A few weeks ago, I compared the Canon 7D to the Canon 5D Mark II, suggesting that they’re both excellent cameras, but suited to different types of work. However, there is another camera that appears to be intended for the same target market as the Canon 7D, with many similar functions and a very similar price (within $100). That camera is the Nikon D300s, which was released a few months before the 7D. Again, I can say that they’re both excellent cameras, and the deciding factor for purchasing one will undoubtedly be which of the features are most important to your photographic style.

But the cameras are not created equal. Let me begin with a side by side comparison of their most prominent features. Continue reading »

GHTime Code(s): 76bc4 64959 e8d3f 9165b 92b54 e7a36 a4beb 3527f 9ba12 

The Canon 7D and 5D Mark II: Resolution Comparison

I’ve had a chance to make a cursory comparison between some full resolution photos taken by the new Canon 7D and a Canon 5D Mark II, and the results have not been exactly what I expected. Before I go on to describe the results, let me mention that the 7D in question is a pre-production model, and results may improve (where theoretically possible) by the time that they ship. I’d also like to thank Steve Eastwood at Modelmayhem for providing the images.

As I mentioned in my previous discussion of these two cameras, the overall pixel count difference is minimal in terms of final print size, but because the 5D Mark II has a full frame sensor, it has a much lower receptor density (about 156 receptors per millimeter) compared to the 7D (about 233). Even though it may seem that higher resolution on the sensor would lead to sharper photos, we should not expect this to be the case in practice because even our best lenses offer a lower resolution than the 7D sensor, and therefore the sensor’s extra resolution will not be capturing extra detail.

Figure A: Canon 7D - 100% Crop

Figure A: Canon 7D - 100% Crop

Figure B : Canon 5D Mark II - 100% Crop, ISO 3200

Figure B : Canon 5D Mark II - 100% Crop, ISO 3200

If this concept is hard to grasp, consider this scenario: suppose that you have a fixed focal length lens (say, a 100mm) on your 5D and you set up an object on a table in your studio so that, with your camera on a tripod 10 feet away, it fills the whole frame.  Now suppose that you put the lens on a 7D and place the camera on the same tripod. Of course, the object won’t fill the frame any more, it will be cropped. In order to fill the frame the same way (or as close as possible), you’ll have to back up a few feet.  After backing up a few feet, you’re now using less of the image that would be produced by the lens on a full frame camera to create the same photo, which also means that you’re magnifying the lens’s flaws.

Figures A and B are from a little less than 1/4 of the distance across the frame horizontally. This means that on the full frame sensor of the 5D, this is getting near the edge of the frame, which we’d expect to be a bit less sharp. On the 7D, this is using a more central part of the lens, so any lack of sharpness is less likely to be related to optical problems with the lens.

As you can see, however, the 5D is still sharper, though not by a tremendous amount. The difference is most noticeable in the “www” text below the logo box. Since the two images were shot at 3200, noise is also a factor.

Digital Noise

Figures A and B display a significant amount of digital noise, but in each case, no more noise than a CCD equipped camera would have produced at ISO 800 a few years ago. The question, however, is whether there is a difference between the cameras. Continue reading »

GHTime Code(s): b210f 12012 b5718 a6d2d 3256a d890d 
Which is right for you, the Canon 7D or the 5D MarkII?
Which is right for you, the Canon 7D or the 5D MarkII?

Which is right for you, the Canon 7D or the 5D MarkII?

The Differences That Matter

The first difference worth mentioning, of course, is the price tag…. about $900 difference, if the current prices listed are any indication (7D at about $1599 at B&H or Amazon and the 5D Mark II at about $2499 at B&H or Amazon). [Note: Canon is currently offering rebates on both] Since we’re looking at a couple of cameras that have the build quality for professional use, with magnesium alloy bodies, full HD video capabilities, top notch processors, and some of the most advanced CMOS sensors around, we can expect professional quality results from either camera. In fact, comparing the columns of features for the two cameras reveals that the vast majority of them are identical.  Something must justify the price difference, though.

Most obviously is the CMOS sensor difference, the 5Dii being a 21M pixel, full frame sensor, and the 7D being an APS-C size holding about 18Megapixels. The 7D has dual Digic4 processors, whereas the 5Dii has only one. Probably as a result of this, the new arrival boasts burst speeds about twice as fast as the 5D. There are many other minor differences (and perhaps a few significant ones), but I think that these are the most important to consider up front. Continue reading »

GHTime Code(s): 35364 695d3 f229a ca3bb 9dcfe a0ce5 fc5b7 c725d 4cd1c 7cf08 b8045 04b8c f3ff7 c4610 f542c b91be 7adf4 nc 5d42b e11ee 6d78d f80a4 67b89 60c15 6612e d19e9 35577 1a153 be97f 84ca7 16b41 nc 873b5 2c49a 77839 nc 667ba 520be 661d0 f7fb0 nc e1c37 nc 56a48 

Nikon SB-24 Speedlight

Nikon SB-24 Speedlight

Nikon Speedlight SB-24 : General Features

A model from the early 1990s (and perhaps earlier), the SB-24 is what you’d expect from a Nikon flash from that era. It was intended to be a professional quality unit, and it does feel nice and solid, even after nearly 20 years.

A quick look at the rear panel reveals the strobe’s features.  From the top left, the first switch controls whether the flash syncs to the front or rear curtain (when used on camera). The next switch is the shooting mode selector: A gives auto exposure according to the speedlight’s meter, M allows for manual power adjustment, the third position is an icon that indicates multiple-flash mode, and finally, there is TTL mode, in which the camera’s meter adjusts the exposure according to the through-the-lens meter.

The “Zoom” button holds no surprises, and allows you to zoom the lens from 24 to 85mm (24, 28, 25, 50, 70, 85). Next to the zoom button is the M button, which changes the power level of the flash in manual mode. The SEL button and two arrow buttons work in conjunction to select and change different values (ISO, aperture, etc) within the LCD view screen.

Nikon SB-24 : Rear Controls

Nikon SB-24 : Rear Controls

The bottom row of controls holds a light button (light bulb icon), which turns on a smooth, blue-green backlight on the LCD. The next button is a strobe release/ready indicator which turns red when the flash is fully charged. Finally, there is a power switch, which includes Standby mode between the typical ON and OFF positions.

Strobist Advantages

The SB-24 fills all of the basic strobist requirements. It is capable of full manual control, with power levels ranging from 1/1 down to 1/16th. Of course, it has a hot shoe if you’re using a Cactus-type trigger, but more importantly, it has a PC jack on the left  side. The PC jack makes it simple to connect a Pocket Wizard or one of the RD-616 style Ebay triggers.

Strobist Drawbacks

There aren’t any significant drawbacks to this unit, but a couple of minor issues are worth mentioning. As I mentioned previously, the power level only goes down to 1/16, wich isn’t great for close up work.  Additionally, there is only one button that controls the manual power level, and it only adjusts down (before returning to the top). So, if you’re on 1/4 power and want to move up to 1/2 power, you’ll have to scroll through 1/8, 1/16, and 1/1.

The Verdict

An excellent choise for the strobist as long as long as you don’t primarily shoot close up with shallow depth of field.

Nikon SB-24 Front

Nikon SB-24 Front

GHTime Code(s): 9fe95 nc 
© 2010 Light and Matter Suffusion WordPress theme by Sayontan Sinha