The International Drone Photography Contest released its' winners for 2018, and they will make you want to jump on a plane. Dronestagr.am, the hosts of the contest, received thousands of entries, "despite the regulations and constraints that increasingly weigh on recreational drones," according to the founder, Eric Dupin. Photo by Zekedrone via Dronestragr.am It's no shock, then, that 2 of the 3 winners of the contest were shot in developing countries where drones are not as heavily regulated quite yet. The winner of the contest features a herd of hippos taking a mud bath. However, the second place winner is even more impressive (if I do say so myself). Photo by Trung Pham via Dronestagr.am This photo features a fisherman's net in Vietnam, though it may take you a moment to realize it. For the third place winner, you may need to stare incredibly hard at your screen, but it features 2 people, 2 dogs and 4 shadows. Photo by Qliebin via Dronestagr.am Personally, I'd also like to display some honorable mentions because this contest is just too cool. Photo by JGalamba via Dronestagr.am This photo was shot off of an island I've never heard of outside of Indonesia. The photographer, extremely eloquently, described the photo as, "where there are fish, there are fishermen." Photo by Trung Pham via Dronestagr.am What I'm getting from this is that we all need to take a collective trip to Vietnam. This photo features Vietnamese lobster farms.
Photo by LukeMaximoBell via Dronestagr.am Luke shot this off the coast of the tip of Africa. It's a baby whale swimming with its' mom. Photo by Maksim Tarasov via Dronestagr.am Who doesn't love a classic shot of mountain ranges in Iceland? This one features gorgeous sun rays. Finally, what is a photography contest without some charitable cause? Photo by Florian Ledoux via Dronestagr.am This photo is an attempt to draw attention to climate change, and what the photographer calls the first refugees of it... polar bears. They require ice to mate, to feed and to rest, and it's rapidly declining. Via Dronestagr.am This blog post about "These Shocking Photos Show How Far Drone Photography Has Come" was first published on our website here https://www.photographytalk.com/photography-articles/9159-these-shocking-photos-show-how-far-drone-photography-has-come from https://photographytalkcom.blogspot.com/2020/10/these-shocking-photos-show-how-far.html
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I don't think that there's any denying that we live in the drone age. Just ask TIME, whose latest cover is dedicated to that very subject. From our point of view as photographers, drones have opened up new worlds of possibilities by allowing us to take our cameras to the skies. But the TIME feature is much more than a retrospective on how drones have changed the world of photography. YouTube Screenshot/TIME Instead, it's an examination of how drones have impacted the very fabric of our culture, from the use of drones in war to the use of drones to protect endangered species and just about everything in between. The report is an interesting read, for sure, and makes you realize just how rapidly drones have become such a ubiquitous part of our lives. But perhaps the most impressive thing about the TIME feature is the cover of the June 11, 2018 edition. YouTube Screenshot/TIME Using 958 drones, the Intel Drone Light Show team recreated the magazine's red logo and red border. The display - one of the largest drone shows in American history - measured a whopping 100 meters tall. Considering that the flight ceiling for the drones was 400 feet, there wasn't a lot of room left over once the 100 meter (approximately 328 feet) display was live. The display, which was created in partnership with Astraeus Aerial Cinema Systems, was created in the skies above Folsom, California, where an Intel campus resides. In the behind-the-scenes video above, you can see how the impressive drone swarm was filmed with a cinema camera mounted on a drone flown by the Astraeus team. What I found so astonishing is that each of the 968 drones had just 1.5 meters between it and its neighbor. A strong gust of wind could have easily pushed one drone into another, creating catastrophe. YouTube Screenshot/TIME The still photo that adorns the June 1 issue of TIME is a single frame that was extracted from the Astraeus footage, and is the first TIME cover photo to be taken via drone. Clearly, this is part publicity stunt to sell more magazines... But it also demonstrates how far drone technology has come and how much this technology has shaped our world - and will continue to do so in the future. This article about "TIME Magazine Used Nearly 1,000 Drones to Create Their Latest Cover" was first published on our website here https://www.photographytalk.com/photography-articles/8574-time-magazine-used-nearly-1-000-drones-to-create-their-latest-cover from https://photographytalkcom.blogspot.com/2020/10/time-magazine-used-nearly-1000-drones.html You may or may not have noticed that as of late, military flyovers are happening all over the country as a way to say thank you to all the first-line workers that are fighting the pandemic. As a veteran and a pilot, I find these flyovers to be an incredible sight, particularly when they involve the highly-trained Blue Angels. Earlier this week, folks in Detroit got to see the Blue Angels in action during the America Strong flyover in their city. In the days since, a video has been circulating online showing footage from a drone that is astonishingly close to the formation of F/A-18 jets. This screenshot shows how dangerously close a drone got to a Blue Angels flyover in Detroit on May 12, 2020. Since most consumer-grade drones have wide-angle lenses, this isn't a case of being far away and zooming in. Even the Mavic 2 Zoom couldn't capture footage this up-close unless it was too up close. As you can see in the video (which is a repost by another person, so don't get mad at them for shooting the video), the drone captures several flybys, the last of which makes you gasp it's so close to the jets. The original video allegedly belongs to Giovanni Lucia (@giolucia), whose Instagram and Facebook accounts have since been taken down. While this is certainly an "innocent until proven guilty" situation, both Fstoppers and The Aviationist were able to find old social media posts of questionable drone footage of the Detroit area from the same handle. One post from February of 2017 even includes the caption, "might of broken a couple of FAA regulations today." No charges have been filed, but The Aviationist reports that the Blue Angels and the FAA are aware of the video. This isn't the first time that a drone has gotten dangerously close to an aircraft, and I'm certain it won't be the last. My question is, when will drone operators like this person finally get it that what they're doing could lead to a major incident and even death? This article about the topic "Drone Pilot Breaks the Law to Get Dangerously Up-Close Footage of Blue Angels" was first published on our website here https://www.photographytalk.com/drone-pilot-breaks-the-law-to-get-dangerously-up-close-footage-of-blue-angels from https://photographytalkcom.blogspot.com/2020/10/drone-pilot-breaks-law-to-get.html If you are interested in drone photography, you are not alone. It is one of the hottest things to do right now in all of digital photography. Questions naturally come up. What do I need to know about drone photography? Is it safe to fly a drone for photography? What can help me get the best out of drone photography? In this introduction to drone photography, we will answer these questions and give you some drone photography tips. Photo by Aaron Burden on Unsplash Getting Started: Pick a Drone photo by zsv3207 via iStock You’ve done your research, you know what you want to do with drone photography gear. Now you choose your drone based on how its features and capabilities match up with those needs and wants. You also have decided how much to spend, so let’s assume you already have your new drone. Perhaps you now have a drone capable of professional quality photography and videography like the DJI Mavic 2 Pro. This drone has forgiving flight characteristics with several shooting modes, great battery life of over 30 minutes, and excellent image and video quality. It is equipped with a Hasselblad camera and lens incorporating a 1-inch type sensor of 20MP. The lens is equivalent to 28mm in full frame format, focuses as close as 1 meter, and has an aperture range from f/2.9 to f/11.0. With a drone like this, you can create beautiful examples of photography and video. Its top speed is almost 50mph and you can control it from almost 5 miles away as well Recommended Drone Photoghraphy Books:
Protect Your DroneYour drone photography gear requires protection, and one of the better things you can get to achieve this end is a drone photography bag. I can’t tell you how many times I see an eager new drone photographer bring their drone to locations in the box it came in. You have a bag for your DSLR or mirrorless camera and lenses. So, why keep your drone in a box that will wear out and is inconvenient to use? One of the best bags I’ve found for drone photography is the Freelance™ Drone Edition tactical sling-pack from Hazard 4®. Hazard 4® bags are designed for extreme use while offering excellent protection. Their bags and accessories are perfect for outdoor photographers and videographers. Being outdoors in nature or in urban settings exposes your valuable camera gear to hazards, so you want a protective bag that is also convenient to use. The Freelance™ Drone Edition tactical sling-pack is specifically designed internally for drone use. The dividers are custom sized and it has multiple features to make life easier for active drone photographers. This particular bag is designed to hold the DJI Mavic pro and other similar-sized folding drones. When you get out into the field, the bag easily rotates from your back to your chest so you can quickly access your drone and other gear without taking the bag off.
The dividers inside the bag are movable so you can customize the carrying experience depending on the needs for each specific outing. There are three large pockets, one of which has an admin area, and another with a protective shell for items like batteries. The strap has a molle covering with a locking buckle for security while the thermoformed back panels gives you comfort and dryness all day long. In other words, this pack is purpose-built for long, rugged days outside with your drone! Of course, sometimes you need a larger bag to accommodate more gear, and for that, I personally use the Hazard 4® PillboxTM. As you can see in the photos above and below, this bag can accommodate a ton of gear - I have two drones, my camera with a lens attached, multiple batteries, and a drone remote with plenty of space to spare. The large clamshell opening is just the start of the thoughtful design of this bag. The ergonomics are superb and offer you a supremely comfortable carrying experience, even when the bag is loaded for bear, as mine was. The 1000 D Cordura® fabric, YKK zippers, and patented hardware give this bag all the durability you need with a futuristic design that looks incredible. The versatility of this bag is off the charts as well. In addition to all the gear I had in the bag for my day trip out with my drones, I could have also brought along a laptop, a tablet, clothes, a first aid kid, food, water, and more! The interior space is well organized to keep all that gear neat and tidy while the admin organizer keeps SD cards, pens, tools, and other small items organized. I live in Southern California, so there can be some extremely hot days. This bag is ideal for hot weather drone photography because it has a molded back-pad and removable belt that are aerated to ventilate sweat. What’s more, they’re both abrasion-resistant and the back-pad conforms to your spine so you can be out and about with your gear in complete comfort. This bag is simply well thought out, beautifully designed, rugged as a tank, and is functional as the day is long. If you’re serious about drone photography, investing in a camera bag like the Hazard 4® PillboxTM is a no-brainer! Drone Photography is Photography FirstPhoto by Leonard von Bibra on Unsplash A drone with a camera for still images or videos is an amazing tool and can be quite fun to use. Once you get past the inevitable initial thrill of flying over everything in sight, you settle down to making good pictures and videos with your drone The same rules (guidelines, actually) of composition, exposure, and other techniques of excellent photography and videography also apply to images and video captured with a drone. Use the rule of thirds to compose balanced shots. Shoot at golden hour to take advantage of the soft, warm light, as shown above. You know the drill! If an image wouldn’t fly (excuse the pun...) when you tried taking it with your regular camera at ground level, taking it with a drone won’t magically fix whatever the issue was. Simply taking the shot or footage from an overhead perspective usually isn’t enough. Photo by Dennis Ottink on Unsplash Some of the best drone imagery and footage I’ve seen from drone masters isn’t obviously done with a drone. It’s because the photographer took the effort to make a pleasingly-composed, well-exposed, high-quality image. The same applies with video. Amazing primary or B-roll footage can be captured with a drone. Don’t limit yourself to only overhead views from your new drone. Drone footage captured at eye level or lower can be absolutely amazing. The drone allows you complete freedom of movement while filming to give your final product a polished look. Stay Safe and LegalPhoto by Brennan Martinez on Unsplash Drones have been in the news recently due to some operator’s poor choices. There are regulations involved for drone use and there are safety protocols as well. Drones like the DJI Mavic series can fly fast, high, and a long distance. Therefore, a responsible drone photographer will learn safety protocols and follow the law. If you’re in the United States, take a look at FAA regulations regarding drone registration and flights before you launch your drone for the first time. Enjoy Your New DronePhoto by Lance Asper on Unsplash Drones are awesome photo tools. And when it comes down to it, drone photography can open up your creativity and may even provide you with some extra income. The keys to drone photography success are to keep all those photography rules in mind regarding composition, exposure, and so forth. Fly responsibly and safely. Carry your drone and other gear in a bag that actually protects it, too. Do these things, and you’ll be able to have fun and shoot beautiful pictures and videos! This blog post about "Introduction to Drone Photography" was first published on our website here https://www.photographytalk.com/introduction-to-drone-photography from https://photographytalkcom.blogspot.com/2020/10/introduction-to-drone-photography.html The Canon EF 11-24mm F4L USM has been out for a while now and it certainly got everyone's attention quickly. This is the widest professional lens you can get for a full frame camera, and at 11mm the angle of view is absolutely astonishing. But is this lens a must-have? Can a professional photographer who shoots wide angle a lot live without it or not? We want to share an honest look at this ultra wide lens, with goods and bads. Let's start with why you shouldn't consider this lens. Ditch it1. Because it's too expensiveThis lens will set you back $3000.That is serious money no matter how you look at it. You can get a lot of stuff for $3000, including the 16-35 f/2.8L USM II for half. Sure, it's not as wide, but still hasn't stopped it from being the number one ultra wide choice for pros around the world. If you want this lens, make sure your wallet's big enough. (Success Tip #1:Crazy new way to learn photography when you have little time to spare) 2. Because it's not a f/2.8When you spend this kind of money, you kind of expect bright glass. Sure, it might not be easy to produce an f/2.8 lens in this focal range, but that again the paying photographer doesn't care how hard it is. Nobody says you can't shoot longer exposures hand held at 11mm, but the still, this thing doesn't even have IS. 3. You can't put filters on itThis is something Nikon users are already used to, thanks to their trusty 14-24mm f/2.8, which by the way costs less. Not being able to put a filter on this lens takes away a lot from it. We're talking about pro landscape photographers who would buy this lens if they could mount a circular polarizer or a ND filter on it. (Success Tip #2:The secret to selling more photography with less effort) Reasons to keep it:Because it's insaneThere are fisheye lenses narrower than this lens, yet in the middle of the frame, everything is perfectly straight. It is the ultimate ultra-wide angle experience and it offers unique perspectives that will change your game completely regardless of what you're shooting. Because of the image qualityThe photos that come through this thing are top notch quality. The details are amazing and if you mount it on a 5Ds, you enter a whole new dimension in DSLR photography. The colors are great, the contrast is there, and it's everything you would expect from L glass.See full specs and photos here. Because it's a tankJust because you should treat it like a jewel doesn't mean it is one. This think is a big hunk of metal filled with expensive glass. It is highly resistant to water and dust, meaning you can take it even in the toughest environments. Overall, the Canon 11-24mm f/4L USM is an engineering marvel and above all, it is a great investment, despite the high cost. We recommend it to all landscape photographers, photojournalists and everyone who wants to enjoy a unique ultra- wide-angle experience. Check out more details about the Canon 11-24 f/4L USM lens here. This blog post about "Canon EF 11-24mm F/4L USM Lens" was first published on our website here https://www.photographytalk.com/photography-articles/5630-canon-ef-11-24mm-f-4l-usm-lens-keep-it-or-ditch-it from https://photographytalkcom.blogspot.com/2020/10/canon-ef-11-24mm-f4l-usm-lens-keep-it.html You don't have to be a gear head to become of fan of unique items, and one such memorable piece of equipment is the legendary Canon 1200mm f/5.6L USM. This zoom lens so rare that seeing someone using it can be a once in a lifetime event. When you first look at it, you get the feeling it was taken out of an astronomy lab. It measures 33 inches and it has a front element that measures 9 inches across. It's large, massive and it takes at least two people to mount it on a tripod. It has three range settings for improving autofocus response times and a 2 degree angle view. Image credits: MPB Photographic (Success Tip #1: Crazy new way to learn photography when you have little time to spare) The folks with MPB Photographic frame up this shot with a 100-400mm lens at 200mm Shown here with the Canon 1200mm lens in action, talk about an impressive ‘up-close and personal’ feel to it!
There were less than 20 of these ever made and each of them was assembled by hand. If you are lucky enough to come across one randomly, chances are it's going to look pretty worn. These lenses were most likely used for sports photography, and some were maybe even taken into the wild. If you're a "normal" photographer who is satisfied with a standard 70-200mm f/2.8 pro zoom, than this is nothing you could really benefit from using. On the other hand, if you really love the idea of safely photographing subjects that are two miles away, then yes, it might come in handy. There's one you can go visit at B&H in New York, and it's probably the best preserved one. If you can spare some change, you might even consider buying it. It will only set you back $180,000. (Success Tip #2: The secret to selling more photography with less effort) See its Wiki page for more details. The folks MPB Photographic share you some jaw dropping upclose shots taken with this lens. Here's another short video of this beast in action. This blog post about "Canon's Outrageously Awesome 1200mm lens" was first published on our website here https://www.photographytalk.com/photography-articles/5463-canon-s-outrageously-awesome-1200mm-lens from https://photographytalkcom.blogspot.com/2020/10/canons-outrageously-awesome-1200mm-lens.html Canon has recently introduced its new ultra-wide angle, 11-24mm f/4L USM lens to the world, and even at first glance, you can tell it’s a monster. The first thing that might strike you is the resemblance to its Nikkor counterpart, the 14-24mm f/2.8 AF-S G. Just like the Nikkor, Canon’s new ultra wide is huge and it has a massive front element that looks like it wants to jump out of the lens barrel. The build quality is obviously there and you can feel it no matter how you hold the lens. The built-in lens hood isn't made of metal like the Nikkor's, but it’s still very high quality material. You can't put a filter on it and that’s one of the few downsides to this lens. At the price, you should at least be able to fully weather seal it, but I guess it’s a normal design limitation. (Success Tip: The easiest way to learn landscape photography when you have little time to spare) Moving on to what really matters, the field of view is absolutely insane. If you thought 14mm was ultra-wide, think again. Have a look through this lens at 11mm and you’ll almost see the people behind you. It’s crazy wide and a pleasure to use. Even with all the distortion and exaggeration, straight lines are still straight, which makes a difference between this and fisheye lenses. Image quality is simply astonishing. Color contrast and incredible detail are all there, and it even makes classic landmark lenses like the 24-70mm f/2.8L look bad in a side-by-side comparison. There’s really nothing bad you can say about this lens and it’s just one of those pieces of equipment that are born as legends. Yes, the almost $3,400 price tag is not an insignificant figure, but you do get what you pay for. Check out how it performs in the field in this video review made by DigitalRev. See the full specs of the 11-14mm f/4L USM lens here This blog post about the topic "Canon 11-24mm f/4L USM Hands-on Review" was first published on our website here https://www.photographytalk.com/photography-articles/5364-canon-11-24mm-f-4l-usm-hands-on-review from https://photographytalkcom.blogspot.com/2020/10/canon-11-24mm-f4l-usm-hands-on-review.html This is a lens that has been anticipated for over ten years. The first Canon 100-400mm f/4.5-5.6 was introduced about sixteen years ago and it was a brilliant piece of lens for its time, and also one of the first to feature an optical stabilization unit. It's hard to tell why it took Canon this long to put out the successor, especially with all the competition taking an important part of the market segment. One can only assume they took their time to make a better lens. The impressive focal range is one of the most important reasons for looking at a lens like this. The range is a dream for any photographer who loves to keep the distance or shoot subjects that are out of reach. This type of lens is not a landscape photographer's tool, but it's something wildlife and sports shooters are aching for. So at least in this regard, this lens will satisfy most photographers who use telephoto lenses. While the zoom range is identical to the specifications when using a full frame camera, if you mount this lens on a crop camera you get a 160-640mm lens, which is nothing short of impressive, especially when you consider its physical size.(View full specs and photos of the Canon 100-400mm lens here) Getting deeper into things, you would expect it to be very well built, since it's an "L" piece, and you would also think it has significant design improvements over the previous model. And you'd be right. This is a very well engineered lens, both inside and outside, and you only need to pick it up to feel the quality and reliability. With the collar foot mounted, it weighs a total of 1,616 grams, which is very acceptable for a 400mm optical system. The original 100-400 had a push-pull system that has now been replaced with a standard, very smooth zoom ring. Since it is a lens created for heavy outdoor use, it is thoroughly weather sealed. While it isn't fully water and dustproof, it can be used in harsh conditions. Focusing and zooming are very smooth as I've mentioned earlier, and this is just one major step forward from the original 100-400. But the improvements that concern most photographers who have been waiting for this lens are related to image quality and autofocus speed. Let's start with the later. Keep in mind, autofocus speed depends on the camera body as well. But if you use it with something like a 5DMK III or a 7D MK II, this lens focuses almost instantly at all focal lengths. This is by all means a very responsive piece of equipment that can handle fast moving subjects accurately and effortlessly. It has been majorly upgraded from the original model, and one of the first indications of this is the minimum focusing distance, which has been greatly reduced. It now focuses at slightly over half the distance of the old model. For a non-macro lens, it allows you to get very close. In terms of image quality, a 16 year gap should make a difference. And it does. Images shot with this lens are tack sharp at all focal lengths, even with a 1.4x extender mounted. The lens has an Air Sphere Coating which Canon have developed to reduce flare and reflections. The coating consists of a film made from nanoparticles that is positioned above the multi-coating layers. There is also a Fluorite element in the optical design that allows the lens to achieve amazing sharpness and detail. Since this is a lens that can be easily used handheld, the importance of stabilization is crucial. As I've mentioned before, the first lens was equipped with one of the earliest systems, one that was rated at 2 stops of assistance. This model has 3 stabilizing modes, another anticipated major improvement. Mode 1 is ideal for static objects. Mode 2 is for panning and with the help of a single axis stabilization, it's the best option for tracking linearly moving objects. The third mode was first introduced on the 300 and 400mm f2.8L II lenses. Photographers who have previously used them will find this stabilizing mode very familiar. It kicks in when you half press the shutter release and it will activate only after it detects panning and motion. Overall, the IS performs very well in real life and it is of great help in some situations, especially when shooting in lower light or indoors. Like all stabilizing systems on the market, it won't replace a tripod or a monopod. If you want the lens to be absolutely steady, simply mount it on a tripod. If you can't do that, we recommend you keep the IS setting on because it will make a significant difference when shooting handheld. So after all this info, two important questions still need to be answered. Who is this lens for? To keep it short, any pro or amateur photographer who needs a long focal length, but doesn't want the large size and weight of a fixed lens. While it may not be the cheapest lens on the market, it is still an attractive option for hobbyists too. Parents who love to photograph their children playing sports will fall in love with it instantly. The second, and most important question is should you buy it? There is a significant price difference between this lens and the original model, and it could be a way for Canon to protect the original investment and keep photographers who own it from feeling bad. While again, this is not a cheap lens, it is without doubt one I highly recommend for anyone who loves to shoot using this kind of focal length. It is still a lot cheaper than a 400 f2.8L II, and the results are very close. Would I buy it if I had the first 100-400? Probably not. Would I get it if I didn't? I'm probably going to place my order after I finish writing this. Check out more specs on the 100-400mm f/4.5-5.L IS USM II here. This blog post about "Canon 100-400mm f/4.5-5.6L IS II USM lens" was first published on our website here https://www.photographytalk.com/photography-articles/5141-why-the-canon-100-400mm-f-4-5-5-6l-is-ii-usm-is-a-must-have from https://photographytalkcom.blogspot.com/2020/10/why-canon-100-400mm-f45-56l-is-ii-usm.html I think it's safe to say at this point that the Nikon Z7 is taking the world by storm. And it should, too - Nikon's first mirrorless camera (along with the Z6) is exciting news. Not only that, it's a darn good camera that has the features to back up all the hype. Looking at the Z7 and considering the excitement around its release, I have to say that even if I shot exclusively with Canon, Sony, or another brand, I'd still be impressed with the Z7. So, that got me thinking - if the Z7 is so awesome, I should outline the reasons why I need one, and why you need one too. The Nikon Z7 Has Impressive SpecsCheck out these incredible features and tell me that this isn't one impressive camera:
Impressed yet? For me, there's two things that stand out among the primary features of the Z7... What Caught My Eye About the Z7First, that sensor is something else. I shoot with a Nikon D850, so I know firsthand how good Nikon's recent high-megapixel backside-illuminated sensors are. The second thing that jumps out at me about the Z7 is its incredible autofocus performance. For starters, Nikon upped its game in the AF point department, giving the Z7 a ludicrous 493-point system. My D850 has "only" 153 points. Not only that, the Z7's autofocus system has 90 percent coverage of the viewfinder. It can also acquire subjects as soon as they enter the frame and track them throughout, even when they move to the edges. As if that's not impressive enough, consider this - the Z7's autofocusing algorithm enables it to switch between focal-plane phase-detect autofocus and contrast-detect autofocus automatically. That means it will help you get the sharpest images possible no matter the situation. Why I Need a Z7 (and Why You Need One Too)I'm not going to buy a Z7 to replace my D850, but what I will do it buy a Z7 to give my D850 some company in my camera bag. And for those of you that think having both of these cameras in my bag is crazy, let me convince you otherwise. For starters, there's times when a bigger, chunkier DSLR is better suited to what I'm doing, and times when I want something smaller and lighterweight. When I shoot at the beach, for example, and have a 100-yard walk to the shoot location, my D850 is my go-to. But when I'm driving to Joshua Tree to do a little night photography and have to hike all over the place in the middle of the night, having a smaller, lighter camera is preferable. Additionally, though the D850 and Z7 have similar video capabilities, when I shoot video, I prefer the smaller body of a mirrorless camera to do so. I would also love to have a Z7 in my bag simply for that crazy-good autofocus system I outlined earlier. I can just imagine taking photos of my son playing soccer in the park with 493-points of autofocus goodness. I visit my fair share of air shows, too, so believe me when I say that I'm salivating at the chance of firing up the Z7 for some aviation photography. The fact that Nikon has a group of dedicated lenses for their mirrorless systems (with more on the way) and the fact that you can use older Nikon lenses with the Z7 (with an adapter) is a big selling point as well. Of course, another big reason why you and I need a Z7 is because mirrorless is the wave of the future. Though I'm not giving up my D850 anytime soon, I see the writing on the wall. In my opinion, there will be a time when DSLRs are viewed as a quaint relic of photography's past. If mirrorless is where we're headed, I might as well get used to it now! Pre-order your very own Nikon Z7 This blog post about "Nikon Z7 DSLR Camera" was first published on our website here https://www.photographytalk.com/photography-articles/8853-why-i-need-a-nikon-z7-and-why-you-need-one-too from https://photographytalkcom.blogspot.com/2020/10/why-i-need-nikon-z7-and-why-you-need.html Just because digital photography can be technically complex is no reason for the major camera manufacturers to make it equally complicated to understand and select the right DSLR camera. Nonetheless, they do; and the Nikon D5000 DSLR is another example of bringing a camera to market that is neither a direct replacement of an earlier model nor quite as capable as a higher-level model; it’s both somewhere between and in a niche of its own. The D5000 segments the entry-level DSLR market even more, as Nikon considers it a “high-end,” but still a beginner’s DSLR, camera. Read real customer reviews of the Nikon D5000 here. Part 1 of this PhotographyTalk.com article provides considerable details about how Nikon has created a place for the D5000 between its D60 and D90, so it can compete against the Canon EOS 500D and Olympus E-620. Part 2 reveals a number of other features of the D5000 that should make it appealing to a number of groups of camera buyers. The camera’s general performance is well above average and a definite improvement of the Nikon D60’s processor power and buffering. The D5000’s speed is particularly noticeable in its continuous shooting mode and raw mode, which puts it at the top of the list for this segment of the camera market. The D5000’s competitive performance is also evident in its auto-focus speed and accuracy. This is a case where the D5000 is more like the D90, with that camera’s advanced AF system. The focus locks quite fast, and proves to be precise, picture after picture. Although low lighting conditions retard focus performance somewhat, which is not unexpected, your photos will be clear and distinct. AF points are easily selected and work well, but don’t expect the 3D tracking mode to follow quickly moving subjects. Nikon admits this flaw, but states 3D tracking is still an advantage for focus and recomposing images. The D5000’s contrast-detect AF is equally flawed, unfortunately, being so slow, as to be a waste of space in the camera. Whenever you’re in live view, or shooting video, the focus is not capable of locking onto high-speed action, but neither do any of its competitors’ cameras. If this is important function for you, then be prepared to spend much more for a DSLR with better video capture. That being said, the video capabilities of the Nikon D5000 are still quite impressive. It was one of the first DSLRs, with a sensor of its size, to record video. Again, the D5000’s video specs are the same, or similar, as the D90.
Even though the D5000’s video output is considerably better than compact cameras, video is, at best, a secondary feature of this camera. It’s probably more of a marketing move because digital photographers upgrading from a compact to the D5000 have come to expect video on any camera they might use. With many entry-level DSLRs, including this one, there are a number of common limitations to video recording. The sensor accepts the video image as a series of horizontal lines instead of a simultaneous scan of the entire image. When a subject or object moves quickly and the camera movement is just as quick to follow it, some verticals within the image will become distorted into diagonals. On the upside, video from the D5000 reveals plenty of detail and playback is good. The camera’s large sensor is definitely an asset when shooting in low light. Many consumers will like the movie mode on the D5000, but it is not a reason to buy this camera. As with any of the “upgrade” DSLRs in this category, the Nikon D5000 features and capabilities are all most entry-level DSLR users, and even those advancing from an older, first-time DSLR, will ever need. Sure, it has limitations, but the D5000 is less than $600 with its kit lens, an AF-S DX 18–55mm, so it’s still an excellent value. Purchasing this camera is a matter of how it feels in your hands (and it should feel very good, despite its somewhat strange body design), what kind of digital photography you shoot and the results you expect. With so many of the features of the D90 packed inside the body, you know the innards have proven their quality and capabilities and that alone makes the Nikon D5000 an excellent choice.
This article about "The Nikon D5000 DSLR Camera" was first published on our website here https://www.photographytalk.com/photography-equipment-reviews/1521-digital-photography-equipment-reviewthe-nikon-d5000-dslr-camera-part-2
from https://photographytalkcom.blogspot.com/2020/10/digital-photography-equipment-reviewthe_16.html |
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