So, when you’re claiming to have upped the chops of your flagship HD-SLR, just how do you do it? if you’re Nikon, you hire outdoorsy madman Corey Rich to use a D4s to make a video about three other shooters (Dave Black, Robert Beck, and George Karbus) using D4s’s. It all makes perfect sense. And even if it didn’t, the trailer for the upcoming piece itself should show that in the right hands the D4s has serious chops. Me, though? If you gave one to me even YouTube would laugh the result off the internet. So, I’ll just go and hit play on Corey’s trailer again. Watch the video below, or go hit up Corey’s blog (via the External Link button below) for more of the inside scoop.
Quick, you. Yes you. Grab a calendar. A calendar? Paper thing, lots of boxes on it with numbers in them? Probably a picture of a dog or a cat or a sports car or a bikini girl at the top? Or a horse, yes. That’s it. Oh fine, use your phone if you like (I do). Just, find March 27th. Circle it, highlight it, draw a crown on it, or just otherwise make note to keep yourself available that evening. Because we’re back. That’s right, Nick and I are officially announcing the return of our long-missed photo walks, just in time to celebrate the 5th anniversary of our first one so many years ago. Where “so many” equals “five,” because I said that.
For those of you who are new, here’s how it works: Nick and Derek’s Photo Walks are loosely endorsed by Roberts, but in fact Nick and I are off the clock for them. Every so often we just decide to get together before or after our shifts and, well, take photos. And we invite you all to come out and join us as pals, or just generally curious people wanting to learn more. Like a club, except less organized. We’ll name a place, and a time. If you’re there, you walk around with us and take pictures of… well, whatever. We don’t judge, you don’t need lots of experience or a fancy camera. Cameraphone? Great. DSLR? Love’em. Heck, once we had a guy bring out large format film. Anything goes, everything’s cool. We try and keep them free. We’re not paid to be there, you don’t pay us to come. You might be out whatever parking costs these days, but that’s it. If we end up going some place that charges money, we’ll warn you in advance. We want everyone to be able to come out, you see.
Sometimes we’ll bring a model out, too. Nick and I will cover a small donation for their time, but we’ll also pass a hat around at the end if you want to tip them more. You don’t have to, and if you’re a student especially it can be a great way to get some experience on the cheap. We understand, we’ve been there. But if you want to chip in, cool. Again, we’ll warn you in advance if a model will be out, so you can plan.
For this first time back in the saddle, we’re keeping it retro. We’re going to do downtown Indy, no model. Just like the original photo walk. Old skoooool. We’re still hashing out details, so, expect to see more of this maybe next week. This’ll be rain or shine, so, we have to think a bit. We’ve had some bad luck in the past, but it’s always been a lot of fun. We suspect it will be again.
So, did you highlight, circle, or otherwise mark the 27th of March on that calendar yet?
While you wait on deets, why not look through some of my photos taken during previous ones over the past five years?
Also, look, a poll! How excited does the return of our photo walks make you? We want to know, spill.
Originally posted at www.lebryk.com
Over the years, whether for the Indianapolis Star Newspaper or for other organizations I have had the opportunity to shoot quite a few different sporting events. What most people wanting to get into shooting sports get hung up on is that they don’t realize how similar of a mentality shooting any individual sport can be. The hardest part (aside from having the gear required) is simply deciding what you need to do to shoot said sport. Knowing your camera, and having the correct auto focus setting also helps; but lots of people can’t get past that. That’s why when I was approached by Roberts Camera here in Indianapolis about teaching a Sports Photography workshop where we would have a class portion to get through the nitty gritty tech stuff, and then go and shoot an actual sporting event I couldn’t’ say no! That’s exactly what we did too. We had a group of people sign up via the Roberts Education website, we had a class portion to discuss things like back button auto focus, and especially all of the auto focus settings that I use for sports. (Which for the record you can also find at this blog post from a while back). Then we all went over to the Pan Am Plaza here in Indianapolis to shoot the Junior Team USA vs the Indiana Ice. As a couple of bonuses Robert’s had a one day rental special for the day where the students could rent gear and keep it for the whole weekend for a days rental. Some of the guys did this to try things out too, which is great because it’s hard to know what will work best for you when spending the kind of money required to buy the good stuff when it comes to camera gear. The other bonus, I set up my lights and each person got 10 minutes of game time to shoot on Sports lights. This is great because as a few of them said; it might be the only time they ever have that opportunity.
(My shot from a previous Indiana Ice game to test the lighting setup. Nikon D4, 800ISO, Nikon 70-200F2.8VR2 @200mm .1/250th@F5. Paul C Buff Einstein Set to 1/8th power hooked up to a Vagabond 2 Battery pack on each side of the rink with 11″ Sport Reflectors triggered by Pocket Wizard Plus X Transceivers).
To get started all the guys were really amped about being there. The class was a nice and intimate size of 6 students. It was really great because it gave me a chance to work a lot one on one with each of them to get their cameras set up the way that we deemed best for shooting action sports. While many cameras are similar, they are very rarely identical and so some settings had to be slightly adapted, or translated into something that worked for their particular camera. The guys were troopers. We spent almost 4 hours in the classroom ahead of time talking about light, filling the frame, and autofocus. It was admittedly a little long, but that’s something that can be adjusted for next time. The guys took it in stride though, as you can tell by some of the work they produced.
(Photo by Nathan Rich. www.nrichphoto.com with a Nikon D800E and Nikon 70-200VR2.)
There’s no puck in that frame, but the goal doesn’t look where the puck isn’t…… All of the guys were different in what they shoot, the style they shoot, and the kind of photography that they like. Some shoot events at the track, others just enjoy shooting, one was a parent looking to get tips on how to better shoot his kids hockey games. What made it all really great was that when we got to the Pan Am Plaza one of the Indiana Ice Team photographers (John from White Shark Photography), said a few inspiring words of wisdom to get them started.
(Photo by Rob Baker, More photos here, with a Canon 7D and a Canon 70-200F2.8 lens)
John and his wife Kelly have been shooting the Indiana Ice as their official team photographers for the last 10 years, and it showed when John gave the guys a couple of tips. The tips he gave were much more game and situation related than I could have given in regards to if you are having trouble following the action. Ironically one part that stood out in his advice was the part that was similar to if you were shooting football with a 70-200 in that you should just wait for the action to come to you as opposed to chase it. This was especially true for the lights we set up, which only lit up a third to half of the rink.
(Photo by Mike Dempsey with a Canon 5D Mark III and Canon 70-200F2.8 Lens)
The class went well, and as you can see from the couple of shots above the guys learned quite a bit. I wish I could post something from all the guys as there were lots of good frames from the workshop but there is only so much time in the afternoon and some of the guys sent several shots to go through. If any of you guys are reading this, I’ll be sure to send each of you feedback on them in the next day or two so watch out for that. I said a few times on Saturday as well as I’ll say it again here that hockey is a very tough, and very fast sport to photograph. There is even another level of difficulty added by the fact that at this particular hockey venue you have to shoot through the Lexan wall to protect the crowd. It tends to make sharpness a never ending quest since if you’re shooting at a funny angle you tend to miss the shot completely. Thanks again to the guys who attended the workshop for a great day, and thanks again to Roberts Camera for putting on such a great event. Look in the future to a few more really cool things that Roberts Education is going to be doing. I can’t let the cat out of the bag so to speak, but I know of a few of the things in the works and they are worth keeping tabs on. In fact there is a class they are working on coming up that I’ll probably even sign up to take. Until then though. More Soon.
I can't see D4s for D3. #WaitForIt
— David Hobby (@strobist) February 25, 2014
I thought y’all’s morning should start like mine, with a bad pun. What I can’t recreate is receiving a snap from Nick in disbelief over the inanity of the D4s’ tagline, but hey, I can show you a screenshot of it:
For added fun, the press release tacks an “, Again” onto that, implying we have at some point previously dominated the decisive moment already. It’s a bad morning to be the decisive moment, with all this being dominated and what-not, but a good morning to be a Nikon shooter because the wait for the D4s is over after what was (all considered) not actually a very long time at all. Yes, there were a few long weeks there where Nikon didn’t actually have a flagship we could sell you, since the D4 supply dried up before this replacement was ready, but it’s all cool now because the D4s is here to be more s-like than the D4 was.
For those of you knew to this game, Nikon tends to handle its flagships like Apple does iPhones. One year you’ll have a new model with lots of features and a new number, then the next go will be a more minor update (in Nikon’s case usually focusing on speed, both FPS and ISO) with an “s” tacked at the end. “S” for speed, you see.
[There also used to be "x" models with a focus on resolution, but, that was before the D800 was a thing.]
Anyway, look, here it is:
Isn’t it handsome, and nearly identical to the D4 before it.
So, what’s new? It’s still a 16mp sensor, but this is an all-new one that’s just the same resolution, and ISO for it now ranges from 100-25,600 native or 50-409,600 (!) expanded. And while expanded ISO may be a lie, that’s still a pretty impressive number to have in a pinch. Additionally, the camera will now shoot at 11/10 frames per second, full resolution, and pipe out uncompressed 1080p video at 24/30/60fps. Speed is also added at the transfer point with support for gigabit ethernet when doing LAN transfered, and the new RAW-S files that weigh in at half the file size of traditional NEF raws (while still being uncompressed) promise even faster transfers and snappier workflows for pros in a hurry. Finally, while not distinctly speed related, the D4s is more power efficient. With the EN-EL18a you’ll get over 3,000 exposure by the conservative CIPA measuring metric, or over 5,000 by Nikon’s internal testing. A few other tweaks and noodlin’s are present beyond that, but they’re all going to be more minor things and you can satisfy your curiosity about them with the press release after the jump below.
The price tag comes in at $6,499.95, and Nikon’s slated to begin shipping them to our dock March 6th, so, if you’re not on our list you should certainly do so soon. If you’re an NPS member be sure to give us a call at 1-800-726-5544 and ask for John or Jody to get help getting your allocation in.
It’s cold outside. Really cold. But, its going to warm up. It simply must. Because spring sports cannot be played on icy fields.
Soccer, baseball, softball, track and field and sculling. Did he say sculling?! Yep. They all have something in common. You just can’t seem to get close enough. Aren’t you tired of carrying around those ridiculously large and heavy binoculars from 1992?
Haaaaave you met the Canon HF R400? Full 1080HD, 53X zoom, fully automatic metering, fast auto-focus, optical stabilization and small enough to fit in a coat pocket (although we do recommend a small case to carry it and extra batteries, memory cards, etc). It weighs in at just over a half pound, but packs a heavyweight contender’s punch. To top it all off, MPEG-4 recording to make post-production and sharing blissfully simple. Spend time capturing moments not being a slave to your computer screen.
$70.00 of instant savings glory expires March 1st, 2014. Get it while the price is HOT. See! We’re thinking warm already.
Pop quiz: what do you get when you combine a 20 megapixels sensor, a 50x 28-14000mm f2.8-6.3 lens, NFC, GPS, WiFI, optical IS, 1080p HD, an electronic viewfinder, and a bunch of black engineering plastic together? Well, this:
That. Or something that you’re supposed to have specialists dispose of properly, but, I was going for that up there. The Sony DSC-HX400, proving both that you just can’t shove enough meaningless letters onto a name and that ultra-zooms are truly alive and kickin’. It joins the Olympus SP-100 and Nikon P600 this spring in the ultra-zoom market, which is definitely seeing a renaissance after a few years focused more on travel zooms than monstrous bridge-style cameras with lenses bigger than most 18-55s.
Sony’s own little monster is slated for a $500 price point next month, and you can preorder it here:
A lower specced H400 with a bigger but slower zoom, and then the H300 with only a 35x zoom will also come out next month to support the HX400, if your budget just can’t justify it, so keep an eye out.
Remember Sony’s A5000, aka the camera that killed the NEX brand? Sure you do, because you are clearly a royal reader of this blog, as I knew you would be. So, through the sheer power of your recollection and certainly not by clicking that link back there to see our previous post on the matter, you’ll recall that the A5000 is the inheritance of the NEX line mirrorless system with the 1.5x APS-C sensors and the E-mount lens system. And that it was pretty hot.
Except, it looks a little blander now that we finally get to meet its older sibling. The A6000, just announced, is on paper a gem.
It has a 24 megapixel sensor being processed with a new generation of Bionz X processor. It has 179 phase detect AF points covering 92% of the sensor, not even counting the contrast-detect AF system helping out, giving it AF times as fast as 0.06 seconds. Which is fast. And speak of fast, it’ll pop out those 24mp images at 11 frames per second, and it doesn’t even have to lock the focus to do it. That’s right, 11 fps and you can still use focus tracking during. Hot. No, sorry. Hawt.
The back is a 3″ LCD, the viewfinder is a slightly smaller OLED unit than was featured in the NEX-6, being probably the biggest gripe to level at Sony’s newest mirrorless. The price points of $800 with a 16-50mm zoom or $650 without it are also pretty solid for those specs, continuing Sony’s long run of super-solid mirrorless systems, especially if you don’t quite need the pro-focus Oly has been pumping into their line lately.
So, once-upon-a-time I was an Olympus shooter in their much-maligned 4/3 system. And one of the things I sorely missed about it when I switched to Nikon was Oly’s painfully reasonable lens organization system. They had three tiers: Standard, Pro, and Top Pro. Any time they made a new lens with a focal range similar to an existing lens you could be sure it would be filed in a different tier, and within each tier there was no overlap. Basically, you could just pick your price-point and desired features and the tier system would spit back one cohesive lens line with minimal overlap and no confusion. The standard grades featured plastic bodies and slow variable apertures, the Pro line added weather-sealing and fast variable apertures, the Top Pro line was as well built as anything could be with constant apertures in all models, plus the weather-sealing too. It was easy, logical, and absolutely lovely.
And as of today it’s (finally) coming back, this time to the much-less-maligned Micro 4/3 system. The 12-40mm f2.8 announced with the E-M1 and last September’s announcement of the 40-150mm f2.8 for the core of the new PRO line, the new top-pro category. So, with m4/3′s 2x crop factor that’s 24-300mm covered at f2.8. Today’s two lenses, the 7-14mm f2.8 and 300mm f4, expand that range to 14-300mm continuous at f2.8, and then a 600mm super-tele f4. All with top-notch metal build quality and weather-sealing, as well as distance scales and the like.
Not sure how the reorganization below the PRO line will shake out, but the 12-50mm f3.5-6.3 with it’s higher build quality and weather-sealing seems indicative of where the middle will be. All in all, exciting times for Olympus and their rapidly maturing m4/3 pro line.
Rounding out today’s Canon’s announcements are 5 additional PowerShots across their water-proof D line, the deck-of-cards ELPH line, and the compact-body long-zoom SX travel zoom line. The water-proof D30 is the most exciting largely by merit of it looking like a real camera:
What? You don’t remember the D10, winner of the Roberts Web Department most-mocked camera design award? (Yeah, it took great pictures, actually, but seriously, it fell a bit short in the industrial design department)
See? isn’t the D30 so much easier on the eyes? or at least less likely to be confused with that Fisher-Price cam you bought your toddlers?
Anyways, getting serious again, the PowerShot D30 is water-proof to a “record-breaking” 82-feet, which is admittedly just a teensy amount more than the 33 feet the D20 could eke out. Rounding out its toughness is an operational temperature range of 14-104 degrees in the “Fahrenheit” scale, and shockproof from 6.5 of those “imperial feet” we Americans also like. It has built-in GPS, and the inclusion of Canon’s HS system suggests an image-stabilized lens and a backlit 12 megapixel sensor. The older DIGIC IV processor is a bit of a drag, but whatcha gonna do? A 28-140mm equiv f3.9-4.8 lens rounds out the package, and it’ll set you back $330 next month in blue only.
In the travel-zoom arena we have the SX700 HS, with the callout feature being a 30x 25-750mm f3.2-6.3 zoom strapped to a 16 megapixel standard-sized BSI CMOS sensor. It’s got NFC and WiFi, but only 720 HD video and will run you $350 next month in black or red.
Closing us out are the three ELPH models: the 150 IS, 140 IS, and 135 (no IS for it, buyer-beware). The 150 IS is 20 megapxiels with a 10x zoom (and IS), the 140 drops to 16 megapixels and 8x zoom (and IS), and 135 is basically the 140 (without IS, that is). Prices come in at $150, $130, and $120 respectively. There will be colors, and you can get them next month, in case you hadn’t guessed.
Well, this one will be a bit quicker because really, at this point, what do we need to say about the Rebel line other than its price this year? The EOS Rebel line-up has been the gold-standard in entry level DSLRs for as long as they’ve been around, and it’s unlikely the new T5 will be changing that. We can say that the T5 becomes the lower of the two Rebels, sitting below the T5i and replacing the T3. It’s got the usual 1.6x APS-C sensor with 18 megapixels being piped through a pretty old DIGIC IV processor, resulting in a pretty ‘meh’ ISO range of 100-6400. But, with a list price of $550 including an 18-55mm IS lens, will that matter to most people looking at it? probably not, and certainly better than the 100-1600 range that was typical at this level when I hired in those years ago. It has 9 af points, the center one being the much better and more-reliable cross-type sensor, and will chug along at a less-than-inspiring 3fps. But, you do get 1080 HD recording at the more typical mainstream framerates, so, when the still mode can’t keep up with recording your kids and pets just flip over to video and record them instead. And, again, did we mention just $550, because yeah. This thing is not a bank-breaker.
Grab a preorder on our site, or read Canon’s surprisingly low-hyperbole press release after the jump.