Posts Tagged ‘Nikon’

How Will the New Nikon D5200 compete in the entry-level D-SLR market?

Wednesday, December 26th, 2012

Of course, the launch is vitally important for the success of any product. The camera market is particularly competitive at the moment and so Nikon will be hoping that their launch of the new D5200 will capture the imagination of potential customers and strike fear into the hearts of their rivals. If not, many of those potential customers will want have a good look at what else is out there that fits either similar spec requirements or similar price range. There is no room for complacency here as the entry-level D-SLR market is keenly fought for and highly competitive. If the D5200 gets the 24MP sensor of its sibling the D3200, then at least it will be amongst the largest in its class. And if it can claim to be a sports camera by pushing its current 4FPS along, then that is even better. But it also has to offer something to those photographers who value low light excellence and a more rigorous focussing system. And don’t forget the movie makers out there. The D5100 is a great starter for videographers, but things move on and the D5200 has to at least improve the frame rate. Even so, if the D5200 can deliver all this for a reasonable price, it faces stiff competition….

THE NIKON D5100 – When Nikon announced the D3200, they also confirmed that the D3100 would still be available and so it’s fair to assume that the D5100 will still be on offer for a while after the D5200 launch. It is also likely to be cheaper. The D5100 is a great camera, user friendly and with superb image quality, both stills and video. The articulated screen makes shooting at high or low angles so much easier and the external stereo Mic give good sound quality to add the HD video. The 16MP file, when combined with Nikon lenses, is really all most of us will need and the ISO span, which extends to 25,600 is splendid. It handles noise well and give tremendous image detail. 4FPS burst speed is a little slow, these days, but apart from that this camera is well worth the money.[I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/12/JeremyBayston2.jpg]

THE NIKON D3200 – Nikon have really astonished the photographic community with this ‘ entry-level’ camera that seems to want to compete with pro-level bodies. The 24 MegaPixel sensor is remarkable in a camera of this price and had put every other beginner-level camera in the shade. The external Mic (for stereo recording) and HD video make this a great starter for photographer and videographer alike. The solid ISO rating – up to 6400 – and shutter speed range make this flexible and versatile camera the current leader of it’s class. [I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/12/JeremyBayston3.jpg]

THE CANON EOS 650D/Rebel T4i – This is another recent launch and a very competent performer. The 650D/Rebel T4i gives the impression that it has come to dominate the field and leave no prisoners. The 18MP file is smaller than the D3200, but not significantly (the D3200’s file at 24MP is in fact only 16% larger as the size increase is not linear), and in most cases it would be impossible to differentiate between the two. Again Canon recognize that users may want to shoot stills and video and have given the 650D full HD video and good quality stereo sound. The D5100 has a useful articulated screen and the Rebel T4i goes a step further by supplying an articulated touch screen. Canon have obviously been studying what has succeeded in the CSC market and have included the innovative contrast auto-focus system for the 650D. Whilst many other functions are similar to the 600D, there is enough here to give the 650D/Rebel T4i serious consideration.

THE CANON EOS 600D/ Rebel T3i – Up until the arrival of the 650d/ Rebel T4i, this was canon’s flagship model in this market. It does offer a good range of features at a fair price. The 18 Megapixel file size was the largest around until matched by the the 650D and beaten by the D3200, and it is quite big enough for almost any requirement. The Canon lenses ensure that the image quality is superb. Like the D5100, it too has an articulated viewing screen, which is handy for shooting the HD video. The 9-point autofocus lets the camera down slightly and the 3.7 Frame Per Second burst speed seem quite pedestrian these days. All together though, this is a very competent camera from an excellent brand. [I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/12/JeremyBayston4.jpg]

THE CANON 1100D/ Rebel T3 – This is Canon’s basic beginner-level D-SLR. As a step up camera, it offers an easy transition from a compact or bridge camera, but these days much more is expected even at this level. The 12MP files are pretty good, however and stand up to scrutiny. The video is not HD quality, though good enough for internet use and the 9-point autofocus is competent. The on-screen feature guide is really useful for beginners feeling their way around. This shouldn’t pose much of a threat to the D5200, but might tempt someone moving up from, say, the Canon Powershot range.

THE PENTAX K-30 – This is a weather-proofed camera designed to survive tough handling. The image quality produced by the 16MP sensor is excellent and it has a number of autofocus options to track your subject. Viewfinder coverage is the full 100% and ISO can extend to 25,600. The impressive 6FPS can capture 30 images in one burst. An adapter will allow you to use AA batteries. It can shoot Hd video and has a choice of 24,25 or 34 Frames per second. Price with 18-55mm lens 650/$900 [I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/12/JeremyBayston5.jpg]

THE PENTAX K-r – Although smaller and lighter that the Pentax K-30, this is a robustly constructed camera with a good variety of functions. Low light specialists will be attracted by the 25,600 ISO top rate and action photographers will find the 1/6000 top shutter speed a real bonus. The restrictive letter-box 16:9 ratio it uses to shoot Hd video can be frustrating and it only records in Mono with an internal Mic. However the in-camera modes are very beginner friendly and it too will take AA batteries. Price with lens $760/ 400 [I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/12/JeremyBayston6.jpg]

THE SONY ALPHA 57 – The SLR has been around for so long that it is easy to think there is no better system out there and whilst the main manufacturers are herding D-SLR users steadily towards CSC functionality in the hope of removing the viewfinder completely eventually, Sony have chosen a different path. The Alpha 57 is an SLT – single-lens translucent. Instead of having a moveable mirror that bounces the light to the viewfinder and then moves to allow the camera to take the shot, Sony have produced a fixed semi- translucent mirror that bounces some light to the viewfinder and lets the rest through to the sensor. Sony have used this for a while now and it can produce some pretty good results. The A57 has a 16MP sensor that are good quality, though they do need some work if shot in low light. However the advantage is that you can see the shot continuously, even when the camera is shooting at 10FPS. The HD video is competent and has a choice of 25FPS or 50FPS. It also has an innovative digital zoom and a maximum ISO of 16,000. Altogether, this is a pretty good camera for the price. Price $700/ 500 [I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/12/JeremyBayston7.jpg]

THE SONY ALPHA 37 – This recent launch aims to put Sony back on the beginner level map again. It is fairly basic, but has some innovative functionality. It also is a SLT camera and has a maximum ISO of 16,000. Burst speed can get up to 7FPS, though for full size frames, is set to 5.5FPS. The in-camera zoom function can double your lens length with hardly any quality loss. It has a useful tiltable screen and HD video. Price $550/ 400 [I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/12/JeremyBayston8.jpg]

Jeremy Bayston has worked in the Photo industry for over twenty years and has written about cameras and photography on various photographic websites. Check out his site devoted to the Nikon D5200 for the latest news about this new D-SLR. Sign up for his newsletter about the D5200 here.

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Is there much difference between Nikon and Canon’s latest DSLR cameras?

Tuesday, December 25th, 2012

With Canon and Nikon both competing to dominate the beginner level market, they have both unveiled movie friendly digital SLRs to tempt enthusiast and professional videographers. Despite the two DSLRs coming from different companies, they have a lot in common. They are both useful upgrades to current digital SLRs (the D5100 and the Canon T3i), and are designed to strengthen their markets by extending into video producing, which both Canon and Nikon see as potential areas for growth. It is clear that Nikon and Canon are regarding the beginner level market as a major battleground, particularly in the United States. [I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/12/JeremyBayston21.jpg]

The Canon T4i doesn’t feel quite as tough as the D5200, but it is solid enough for day to day use. It is a bit bigger than the D5200 though, and so easier for anyone with normal sized hands to hold. The scroll-wheel clicks comfortingly as it turns and the rear buttons are tactile. The design at the back of the Canon T4i is well considered and has more buttons, making diving into the menu settings a lot quicker and easier. Some are multi-functional, which can require a little thought. For example, the same button that commences recording video in movie mode also commences Live View in still shooting mode. The slight downside of this is that some of the buttons are quite close together. However, the Canon T4i does have a dedicated ISO button, and speedy access to white balance, drive mode, and AF settings (the D5200 doesn’t have any of these). There is an IR sensor on the front of the camera, but no Fn button as there isn’t really any requirement for it.

Both cameras have an articulated LCD backscreen. The Canon T4i has a recognizable higher resolution than that of the D5200. The Canon’s liquid crystal display viewingscreen has 1040 thousand dots, while the D5200 has 921 thousand. One of the the Canon T4i’s biggest selling points is that the LCD view screen is a touchscreen. This makes it much easier to program settings and, more importantly, it lets you choose a focus point through Live View. You can also shoot your picture by tapping on the location where you want the digital SLR to focus. These are very clever and useful functions, taken from the Compact System Camera (CSC) ranges that are for sale now. It is excellent to see this technology being adopted by the Canon T4i as it makes it far more useable than any other DSLR in its category.

The Canon’s phase detect AutoFocus system is extremely fast. Although it has only 9-point AF system, as opposed to the 39-points of the D5200, it is both fast and accurate for every day picture taking. The Canon T4i doesn’t have a dedicated AF assist light, but it can use its built-in flash in these circumstances. The T4i supports full-time AF in video mode, which matches the D5200 and, with Canon’s STM lenses, the focussing is silent enough for shooting video. It also has an external Mic socket. It is reasonable to say that the Canon Rebel T4i is possibly the better DSLR for shooting movies. The LCD viewingscreen, full-time AutoFocus, and external Mic make it ideal for your everyday video requirements.

The Nikon D5200 is a very compact camera and smaller than it’s predecessor, the D5100. This could create issues for those of us with large (average!) hands. It can sometimes not carry like a regular digital SLR, especially when attached to a larger lens. While it fails to match the build quality of the magnesium alloy D7000, the tough plastic body feels fairly solid and sturdy. The design at the back is easy to navigate with an array of buttons to make access to the multiple options simple to follow. Live view is easily accessible and film recording can be initiated with a press of a single button. It has just a single control wheel which is snappy and responsive. There is an IR spot on the front of the camera and also a dedicated AF assist light, which the Canon T4i doesn’t have. On the right side there is a customizable Fn function which can be used to select image quality, ISO, active-D lighting, or white balance (there are no dedicated single buttons for these options). The pop-up flash automatic in green mode, meaning that the flash will open on its own if the camera thinks it is needed.

The liquid crystal display screen is has come from the D5100, where it was hugely popular. As with with the Canon T4i, it is very useful for shooting at different angles and is particularly useful when shooting video. The help menus are excellent and make the Nikon D5200 quite beginner friendly. The visual display rotates with the camera, meaning that information on the status screen won’t show sideways when you’re taking uprights. The playback mode is quick and efficient you won’t have to wait for photos to load. And there is a comprehensive info screen which lets you manage just about every shooting parameter that the D5200 has to offer. However the four way selector is not as simple to use as the one on the Canon. The Nikon D5200 doesn’t have as many external buttons as the Canon T4i, making some of the menu choices hard to locate. The new(ish) Expeed 3 processor makes the Nikon quick and decisive in phase detect AutoFocus and extremely fast in Live View. The D5200’s articulated screen comes in handy for shooting video, and Nikon have increased the choices of frame rate options, introducing 60i and 50i. Like the Canon T4i, it will accept an external microphone and has full-time video AutoFocus.

At low very ISO, the Canon T4i equals the Nikon, though the D5200 is slightly better at maximum (non-expanded) ISO. Overall, the Nikon provides slightly better image quality than the Canon. Remember, the Canon T4i also has a physically smaller sensor than the D5200. It may not seem like much, but 1.6x rather than 1.5x, combined with the increased resolution, puts the Nikon D5200 on top. For more information on the sensors, take a look at the sensor scores published by DxO labs.

In summary, the Canon Rebel T4i has great AutoFocus, a splendid articulated touchscreen and is a truly superb video camera. The Nikon D5200 has remarkable, fast AutoFocus, a good articulated screen, a great buffer/processor and very useful in-camera guides.

I think if you had no lens loyalty either way, the Canon T4i would be the better camera to purchase. The difference in image quality is barely noticeable under normal conditions and the Canon certainly matches the D5200 on the video front. Whilst both digital cameras are remarkable in their own ways, the Nikon D5200 is more expensive than the small improvements over the Canon T4i would warrant.

Jeremy Bayston has worked in the photographic industry for two decades. He has a particular interest in digital imagery. Learn more about the new Nikon D5200 on his website www.d5200.org and download a free 25 page guide to the new camera. Discover more about the Canon rebel T4i on his website www.rebel-T4i.com. Both sites offer expert advice and reviews of Nikon and Canon products.

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Why pictures are so important for newspapers and magazines and how they use them to attract your attention

Friday, November 16th, 2012

There are some very obvious reasons for using pictures in your web sites or copy. On a basic level, they add variation to an otherwise monochrome page and reduce the copy into more accessible chunks. After all, who wants to read a thousand words of block copy? But, of course, pictures are far more interesting than that. We are a visual species. Nearly every recollection we have is kept as an image in our brains and images have been our foremost way of communication for millennia. By comparison, the written word has been a mere blip.

A picture can be so much more than words. The colors can effect our thoughts, the content can make us laugh or gasp, the context can persuade us to trust or disbelieve. Words and pictures use different mental processes – letters must be mentally constructed into words which then have to be interpreted before they can be understood, whereas pictures are hot-wired straight into our understanding.

In fact the best pictures seem to defy words altogether. Our response to them is emotional – almost visceral – rather than objective. Little wonder then, that photos are used everywhere to instantly tap into those emotions and feelings that a thousand words could not easily describe. How many words would you need to describe the image of the marines raising the stars and stripes at Iwo Jima, Spencer Rowell’s classic image of a bare torsoed man cradling a vulnerable baby in his arms, or that anonymous man, with his shopping bags in hand, standing in the way of the Chinese tanks near Tiananmen Square? And how lacking would that description be, compared to just showing the picture?

Photos that are created for publication tend to fall into three categories. The first, and most obvious is that of identyifier. They are there essentially to prove that something, or someone actually exists. In newspapers they appear as small portraits, or product pictures. They usually get hardy any attention from either the editor or the reader and have often been shot to a set blueprint – blue or green backdrop – and showing a grin something between a conspiritorial smile and look of terror. This is because PR managers often just want to send out a single image designed – they think – to cover all eventualities. If you just send out one photo, then it can’t be too happy, or sad, or indeed anything, just in case. This seems to me to be missing opportunities. If you have employed a photographer, he will have a good choice of photos for you to choose from. Why not choose a few and send them all out? Picture editors like a choice and aren’t likely to use them incorrectly. The same argument applies to pack shots. There may well be a best shot, but give a selection so that they can change the images around occasionally or crop them to different shapes.

Shooting these portraits against a plain backdrop also misses a chance. Whilst picture editors will stay away from portraits with blatant logos in the background, or a letter sticking out of your head, there is no reason why you can’t be photographed in context. If you make widgets, why not be photographed in the workshop?, However, general office shots aren’t effective because one office looks just like another – it does not explain what you do or who you are. Standing in an office infront of a logo or banner is unconvincing. Good pictures will actually effect where the copy will appear. Remember an ordinary article with good images will often get a better show than a dull piece with ordinary photos.

The second kind of picture is the eyecatcher or dramatic moment. Present in every newspaper and magazine, these pictures enable you, the viewer, to witness a precise event. It is a moment in time which, ironically, if you had been present you might well have missed. As if to emphasize this, the subjects are usually in the air or in mid motion and there is often eye contact with the the viewer which only enhances the feeling of connectedness and immediacy. These pictures are designed to suck you in and engage with you. In other words, these startling pictures are used by publications to pull you in, past the headlines and the stand-first, to the content.

In terms of corporate images, the eyecatchers will always have currency. Movement is always going to attract attention, but unusual context will also catch the eye. Whether it is a bike in mid air or a suited gent in high heels on a haystack, you can’t help but notice it. The abnormal in every day life contains an air of mystery that we find irresisitible. However, remember that the image should reflect your company values and that what might seem funny to your work colleagues, might mean nothing to your potential clients. Always think about how the picture is constructed: follow natural perspective by putting the subject at the centre of the image, surrounded by the supporting elements. Remember that eye contact is attractive and make the picture engaging by either having the subject coming towards the camera, or shoot over a shoulder, to pull the viewer into the picture.

The third kind of image which we are all so used to seeing is the feature picture. The feature picture is different from the portrait because it aims to place the article or subject in a specific surrounding or context and it is different from the eyecatcher because there is no doubt that the photographer (and possibly the subject) have worked to create the context. These pictures don’t pretend to be a moment in time, they want to tell their story all by themselves.

In that sense they can remind you of some of the portraits by the great masters. When a man was painted for posterity, he wanted to leave the viewer with a a certain image imprinted in your mind. It wasn’t a quick snap – it would take weeks to complete and hang in pride of place in his castle. It wasn’t just an image, it was confirmation of his status. Each element had been thought out and gave a clear message to those in the know. The content will depend upon who has the final decision. If the subject is powerful enough to set the terms, it will usually show how they regard themselves and their achievements. If the commissioning editor holds sway, then it will tend to fit the story which is written around it.

However the feature photo doesn’t have to have an ego at the centre. The essential element of a feature picture is that it has been imagined beforehand. The photographer has changed the circumstances or parameters so that he can better tell the story. He has taken the elements he thinks are important and arranged them so that the viewer will be led through the photograph in a specific way so that the story is uncovered in a specific order. In making these decisions, he has also considered format, style, lighting and colour saturation as well as content. And so as a consequence, feature photos tend to be more artistic in nature and stand up to scrutiny for a longer time. Because so much forethought has been put into them, good feature images can be studied just like old masterpieces.

Jim McGrath has worked in the media industry forover two decades. He has a particular interest in digital photography and good cameras. Learn more about the best digital SLRs at his camerawize website.

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Why Compact System Cameras are so popular

Tuesday, October 16th, 2012

When Compact System Cameras were launched a few years ago, nobody could have predicted how popular they would become. In 2008 Panasonic brought out a mirror-less, interchangeable lens camera in order to fill what they thought would be a fairly small niche of people who wanted DSLR functionality with the convenience of a compact camera. Until then it was thought that all photography enthusiasts would ultimately progress from a basic compact to the single lens reflex camera, as it has been at the pinnacle of camera technology for so many years. However the stunning success of the CSC range has shown that there are many out there who don’t want the cumbersome weight of large camera bodies and lenses, but do want the flexibility and excitement of shooting with a top of the range camera. Above all, a CSC is fun! [I:http://www.grinwebbus.com/blog/wp-content/uploads/2012/10/JasonTandy13.jpg]

Normal DSLR cameras are the size and shape they are because they contain the single lens reflect system. It could be a mirror or a prism, but it is the system by which the user can look through the viewfinder and see what image is coming through the lens. Camera manufacturers know that modern digital cameras do not need this system – the image can be viewed more easily on the back monitor than the through the viewfinder – but they dare not change the cameras too much for fear of offending convention. CSCs have disposed of the mirror system (and viewfinder) completely and so can reduce their size and thickness substantially. They can be as small as a standard compact camera.

In fact, with a pancake lens (small and wide) a CSC can easily hide in a jacket pocket or purse. this adds to their functionality – after all how many times have we not taken that picture, because bringing our camera would have been too much effort. CSCs can be collected with your keys and wallet. Whilst most manufacturers have developed an adapter for their standard lenses to fit their CSC range, it is better to use the specialized CSC lenses. They are superb quality and utilize the full functionality of the camera. In some cases standard lenses don’t offer auto focus, for example.

Most CSC ranges offer at least the pancake lens, which is often very wide, but has great flexibility in terms of shutter speed and aperture, and the longer lens which takes you up to around 42mm or 55MM. Even longer lenses are now being introduced up to 100MM or so. It is unlikely than longer lenses will be made. Remember this is a fun camera range – whilst they can produce excellent images in most conditions, they are not designed for extra long lenses or day to day professional use.

Fun is the defining word for CSC cameras. Because the designers were able to start from scratch, they have filled their cameras with all sorts of goodies. Big files have been accompanied by wide ISO ranges and burst speeds which would put even the most expensive DSLRs to shame. For example, the Nikon J1 can go up to 60 FPS! They also tend to have some quite innovative auto focus systems, which can make them extremely quick. Their Video functions are also very clever. Most of them shoot full HD and some can even help you to create a favicon for your social media page. In camera software can help you edit your photos, or do it for you, making a selection of the best pictures and discarding the rest.

Over the last few years, CSCs have established themselves in the hearts of enthusiast and purist alike. The innovation and advanced technology you find in these cameras is often trialled by the manufacturers before they put them in their best selling DSLR ranges. Consequently, you sometimes marvel at the potential of these little cameras. They are fun, small and exciting, and they are predicted to outsell DSLRs in a few years time.

Jason Tandy has worked in the photography industry for more than twenty years. He has a particular interest in digital photography and good cameras. Learn more about the best digital slr cameras available from his camerawize website. It is constantly updated and can help you take better photographs.

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