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The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
In 2007, after several years of lagging behind Canon in the enthusiast and professional DSLR market, Nikon was doing alright. Not spectacularly, but they were hanging in there. The D200 was a popular and capable enthusiast model, and the professional D2x was a significant advance on the muddled 'h' and 's' releases of the past. But it was their biggest competitor that seemed to have all the momentum. While Canon had been using APS-H and full-frame sensors for years, none of Nikon's DSLRs offered sensors bigger than APS-C, and Canon still ruled the roost in terms of autofocus1 and high ISO imaging capability.
But around that time, we had an inkling that Nikon had something big on the way. Not a company prone to grand gestures, Nikon invited the world's press (and I do mean the world's press) to Tokyo, in the sapping humidity of a Japanese heatwave for a top secret announcement...
|The magnesium alloy-bodied D3 was as tough as anything that Canon ever brought to market, but offered a combination of speed, sensitivity and autofocus performance that the industry had never seen before.|
Ten years ago, camera technology was advancing continuously, and quickly. For quite a long time, it seemed like every new generation of digital cameras was better than the last in ways that camera buyers (and reviewers) actually cared about. Obviously, each new cycle brought more megapixels, but equally as important were the ergonomic and performance improvements that made each new generation of cameras easier to use, and more effective than the last.
|Buzz Aldrin, in London to mark the 40th anniversary of the Apollo 11 landing.|
Nowhere were these advances more obvious than in the professional DSLR segment. Compare the original EOS-1D of 2001 to the EOS-1D Mark IV of 2010. They look similar, but in terms of usability and image quality they're worlds apart.
Let's take usability, to start with. If we look at just the screen interfaces alone, in less than a decade, LCDs got bigger, and much sharper. Live view became standard, and, camera menu systems evolved from messy lists that looked like Windows ME error messages to friendly tabs and mobile-inspired icons.
|My personal D3S, nestled alongside a D810 and several lenses in a Pelican case. It's still great, and I still use it.|
The 4MP Canon EOS-1D is still capable of turning out decent-looking images for web and limited print use, and it can do so impressive quickly (8 fps ain't bad for a sixteen year-old DSLR). But the EOS-1D Mark IV offered four times the pixel count, better image quality across the board, including a far superior high ISO imaging capability, a faster continuous shooting rate, and a much more sophisticated autofocus system - plus live view and movie mode.
|High Barn, not far from where I grew up, in North Yorkshire. 12MP might not be much by 2017 standards, but it's enough for a high quality 13-inch print.|
All of this is by way of preamble. The point (finally! He gets to the point!) is that even by the fast-paced standards of the professional DSLR market in the mid 2000s, the Nikon D3 was a major technological achievement. Arguably, (and I admit it's a big 'arguably') the EOS-1D Mark IV and its successors might not have been quite such advanced cameras without the technological game-upping that Canon had to do in the years following the launch of the D3.
As a working photographer and photography writer at the time, the D3 was (and remains, actually) the single most impactful product to be released during my career. Before Nikon's presentation in Tokyo had even drawn to a close,2 our industry's expectations of what a DSLR could do had been shifted.
Until the D3, you could either have a fast cropped sensor DSLR, or a slow full-frame one - not both. Until the D3, the maximum ISO sensitivity setting that you might be able to shoot at was either 1600 or 3200 (depending on the model), and even then, not particularly confidently. Until the D3 (and its sister model the D300) came along, if you wanted the best autofocus performance, there was no question - you bought Canon.
|Melody Gardot, performing in London. The D3's shutter sounds like someone just dropped a cribbage board onto a marble floor, but the D3S introduced a fairly discreet 'Q' mode.|
I was happily shooting with a Canon EOS-1D Mark II when the D3 was released. For the kind of photography I was doing at the time, the Mark II was one of the best cameras on the market, and did the job perfectly well - or so I thought. I felt the same way about the 1D Mark II in 2007 as I did about my Nokia 3210. Solid, reliable, and elegant in its own way. A useful and streamlined tool.
At risk of overstating the point, the D3 was to my EOS-1D Mark II what the iPhone was to the Nokia 3210: a paradigm shift.3
|Florence Welch, shot with the D3's successor, the D3S. The D3S added some welcome tweaks over the D3, including in-camera sensor cleaning, and slightly improved high ISO image quality.|
Using the D3, I could shoot quickly and without a crop factor for the first time. I could capture full-color images in light so low that my own eyes couldn't fully discern what I was looking at (and the AF could usually keep up). I could shoot at ISO 6400, and marvel at the moderate film-like grain - a grain pattern that wasn't distracting at all, and showed no banding. The D3's autofocus system was at least a generation ahead of what I was used to in terms of tracking too, allowing me to reliably use AF-C, even with off-center AF points in poor light.
In practical terms, this meant that I could capture images of performers in light so marginal that none of the other photographers working alongside me were able to get a sharp exposure.
A couple of times during my first few months of shooting with the D3 (when I had the camera for review, but before it was shipping in significant numbers) I found myself alone in the photo pit at a small venue, still shooting in punishingly low light after the other photographers had given up and left.4
But it wasn't just performance photographers that were amazed by the D3. Wildlife photographers, too, were raving about this amazing new camera that let them shoot in full color, in situations where previously they would have been limited to infrared. Like I said, it was a paradigm shift.
|The D3S has accompanied me on a few shooting trips in 2017, including a protest against the Trump administration's attempted travel ban, back in January.|
So of course I bought one. I sold all my Canon gear, took a hit on the exchange, ate tinned food for a few months and picked up a D3 with a 24-70mm F2.8. I added more lenses over the following couple of years when I could afford to, and ultimately traded the D3 for a D3S. The D3S added in-camera sensor-cleaning (one of the D3's few deficiencies), even better high ISO image quality and a basic HD video function. That was around the same time I started to write for DPReview, and about a year after that we moved to America and I mostly stopped shooting live music.
My life has changed a lot since then, but I still have my D3S and I still use it - mostly now as a second camera for event photography. And no, Dan Bracaglia - I'm not selling, so stop asking.
|A still from a commercial shoot for a young singer-songwriter, Anna Sinfield, in 2008. She's a producer, these days, for UK radio.|
One last anecdote...
Not long after the D3's launch, back in London, I spoke to a young Nikon engineer who had been heavily involved in the design of the new camera. He was visiting from Tokyo. He brought with him two sets of prints - one set from the then-current Canon EOS-1D Mark III, and an equivalent set from the D3. Pointing to the shots from the Canon, he said "in my opinion, these look like digital images". Turning to the images from the D3 he said "but these look like photographs".
That might sound like hyperbole, but the thing is - he was right.
1. Setting aside the much-reported and in my opinion overblown autofocus woes of the EOS-1D Mark III.
2. In addition to the cameras, the presentation was also memorable for a closing appeal from a very senior Nikon executive to the assembled US press. Please - he requested - please pronounce 'Nikon' correctly as 'Nick-on' not 'Nye-con' - a plea that was of course completely ignored by all concerned. That trip was also the first time I encountered a Geisha (it would not be the last).
3. If the D3 had come loaded with 'Snake II' it would have been perfect. Actually, given the amount of time professional photographers spend just waiting around, I've always wondered why simple arcade games weren't pre-loaded on professional DSLRs.
4. The Pogues - I'm looking at you. Or rather, I was trying to...
Jun 14, 2017
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Jul 27, 2016
'I do not touch my dance work with Photoshop. Never!' says portrait photographer Steve Vaccariello - a bold statement in the digital age. But he's no luddite. His extended portfolio of commercial, celebrity and beauty work has certainly seen its share of image enhancement. When working with dancers, Vaccariello likes to use reductionist lighting designed to stay out of the way of the movements of the performers. See his work and find out more about him. See gallery
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|The Lone Photographer by ed rader|
from My Best Photo of the Week
|_ERN9064 by ernesto juarez|
from Shoot yourself ! (with your camera)
|Neighbourhood Watch by Stevie Boy Blue|
from Zoo trip ~ Cute...
GoPro has announced its HERO7 camera lineup. The updated action cameras feature new HyperSmooth and TimeWarp modes, as well as improved video and photo specs.
The latest Samsung midrange smartphone offers a super-wide-angle lens in its triple-camera setup.
The Sony 24mm F1.4 is the latest lens to join the company's premium G Master lineup. We've been shooting with one for a couple of days - here's what you need to know.
Apple released iOS 12 a few days ago and some iPhone X users are less than happy with how the new operating system has made their phones look.
Camera bag manufacturer Lowepro has introduced mark II backpacks for its ProTactic AW range with models that are said to feature an improved handling experience as well as a collection of accessories that can be attached to the outside.
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has the same lens but offers a higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.
Sony has taken the wraps off of its new 24mm F1.4 GM full-frame lens, which the company claims is the lightest in its class. Despite its fast aperture, the 24mm F1.4 is remarkably light, weighing just 445 grams (15.7 ounces). The lens will set you back $1400 when it ships next month.
In this episode of DPReview TV we take a look at Sony's brand new 24mm F1.4 GM lens, a desirable focal length for many photographers. How does it perform? Chris and Jordan give us their first impressions.
We've had a little time to shoot with Sony's new wide/fast prime, both close to home and on the water in San Francisco. Check out our initial sample images.
Fujifilm released a firmware upgrade for its X-T3 mirrorless camera that addresses issues with distortion compensation and the mechanical lock on SD cards.
The app's algorithms have been trained using using 200 million cropping data points from real photographers.
Thanks to a software update, the Loupedeck+ editing console can now be used for video editing.
British photographic engineer MTF Services is claiming the world’s first third-party lens adapters for the new Nikon Z system with a collection of four units designed to allow cinema lenses to be mounted on the mirrorless full frame bodies.
Think Tank Photo has updated its line of heavy-duty rain covers and introduced a new, compact version for emergency situations.
The X-T3 is our first opportunity to analyze what's likely to be Fujifilm's next generation image sensor. Take a look at how it performs next to the competition in our studio test scene.
Canon's new normal is seriously sharp wide open. After shooting with it for a few days, we've prepared a gallery of real-world sample images.
Nikon will cease offering Brazil-based customer service and technical support, though the company stresses that it will still offer technical assistance and warranty repairs for valid warranties.
Two years ago, CatLABS of JP announced a plan to save Packfilm from the dead. Now, it's announced it's giving up its efforts to better focus its resources elsewhere.
The GoPro Fusion is designed to make it easy to capture 360-degree video and stills. We took it out recently on a typically hot Seattle summer day to see what it can do.
We've got our hands on a full-production Nikon Z7 camera and have updated our gallery with additional samples.
A new Kickstarter campaign seeks funding for Chroma Chrono, a programmable RGB camera flash that emits multiple colors during long exposures.
Think Tank Photo has launched a new lineup of six dual-access, water-resistant protective lens cases it calls Lens Case Duo.
Canon and Nikon finally entered the full-frame mirrorless market this summer with the brand-new RF and Z mounts. Now that we've had some time with the cameras, we wanted to revisit our earlier predictions and take stock.
The devices' camera specs look pretty much identical to last year's iPhone X but under the hood a number of important improvements have been made.
Blackmagic Design has announced the public beta of its new Blackmagic RAW video codec. The company says the new format combines the benefits of shooting Raw video with the ease of use and smaller file sizes usually associated with non-Raw video files.
Serif, the company behind the Affinity suite, has announced the latest update for its mobile Photoshop competitor Affinity Photo for iPad.
The Atomos Ninja V external video recorder and monitor will be ready to ship at the end of this month. The 5.2in Ninja V is designed to provide a smaller option, while still offering many of the features of the larger 7-inch models.
Having shot with the camera, spoken to Canon and read the tea leaves, here's what DPR Technical Editor Richard Butler thinks the EOS R tells us about Canon and the RF's mount's future.
After last week's teaser, lighting manufacturer Profoto has announced its 'small big' new product. The B10 is designed to be used as studio flash head but in a very small body, and has a powerful continuous light source for videographers as well.