Colin Dutton
Joined on
Aug 4, 2005
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| Moon 99% D55 C14 St-Zénon 20170806 DP by MarioSS from Best Picture of the Week | Reeds on lake by kkardster from Abstracts in Nature | Florence & the Machine by Dutch Newchurch from Second chances.. |
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Robemo: Impress would-be clients with gear? Really? Is it just me having bad luck for more than 40 years with much more cirtical and smarter customers? The first thing most clients ask is your portfolio and references. Rarely do they show any interest in the gear I use. Actually most of them don't give a hoot .... unless they have photographic knowledge and very specific demands. Again, that's rare ...
Clients get to see my camera. Would-be clients get to see my estimates.
obsolescence: Nikon should have designed a removable tripod collar so that only the camera moves and shift-stitching avoids parallax. But I guess that wouldn't work too well with their humongous pro bodies -- if only they had a mirrorless.
How about a filter holder and adjustable hood/flag for this lens. Don't they listen to us?
AD in KC.. for stitching you could also give PTGui a try which is what I've been using for years.
obsolescence: Nikon should have designed a removable tripod collar so that only the camera moves and shift-stitching avoids parallax. But I guess that wouldn't work too well with their humongous pro bodies -- if only they had a mirrorless.
How about a filter holder and adjustable hood/flag for this lens. Don't they listen to us?
Here in Italy they did design such a collar and it's distributed through Nital (the official Nikon dealer here). It keeps the lens still and moves only the camera body when shifting so, as you say, it allows perfect stitching. But bear in mind that the shift movements in this case are used for creating larger files and increasing the field of view, not for correcting parallax. It's called the Jumbo MultiBigShot. I have one and it works really well. Here's a link:
https://www.nikonschool.it/experience/jumbo-mbs.php
Jeff Seltzer: I actually own the camera. As a professional photographer, I can say it's my most favorite camera ever owned. The OVF is not a gimmick, and I like to use it in conjunction with the EVF. The camera's handling is great, and images are fantastic. It's more fun and engaging to use than my old Canon DSLRs. It might not win on every objective spec, but the whole is more than the sum of the parts. It's a great camera. Is it "worth" the price? Value is subjective. I think it's worth it.
Like Jeff I'm also a professional and I recently bought a Pro2 for travel jobs, along with a Pro1 as a second body. The Pro1 is sweet but the Pro2 has blown me away. It's my new all-time favourite. Small but not too small, super sharp and just fun to shoot with. I tried an X-T1 but couldn't get on with it. The Pro2 is like a breath of fresh air compared with my Nikons and image quality with the primes is fantastic. Whether the love affair continues over time depends on its reliability. We shall see.
The link is dead...404 page not found
Hmm, I click the link but can't see any images.
Someone should design a cartridge sensor that can can slot into any 35mm film camera.
Mike Sandman: Thanks for posting these. I've ordered the NEX-6 hoping that the 16-50 lens would be better than the 18-55, and despite the complaints here, the shots are useful and I'm somewhat encouraged about the 16-50.
At last a voice of reason! I found them useful too and am also encouraged. I was worried after looking at the 'official' shots from Alaska but these show more promise.
Clyde Thomas: Three lenses all defocusing on the right. I think someone licked the SLT mirror. I can't see DPReview having three lenses all with decentering issues. This is a camera issue. I'd bet that SLT mirror got touched somehow.
70-400G The entire right side of image is blurred. Center very sharp. Left sharp enough.
16-35 ZA Entire right side of image blurred crazy. Sharp center and left.
ZA 24-70 Wild field curvature on right side. Front grass on right is sharp. Center sharp. Trees at top rear peak sharp. But trees at top right blurred. They should be sharp, being centered between rear trees and forground grass. Image left side is sharp within focus plane.
Come on DPReview... you're not looking at your samples close enough. Something is wrong here. If you want us to look at them 100%... then you should too. Something is amiss with the landscapes on three different lenses.
They look fine?? Are you viewing at 100%? The landscapes are shockingly bad. It's nothing to do with DOF.
That 16-35mm has got to be a duff sample. The landscape 0099 is simply terrible. The centre is kind of blotchy sharp but the rest is a complete mash. Notice the trees on the right strangely get a little sharper again just before the border.
BiggerDiggler: In two years, BOTH Hasselblad and Sony will be bent over a table with their pants down around their ankles by the newest smartphone technology. They are BOTH going to circle the drain, and so will most of the professional photographers lambasting this abortion, when the next generation of smartphones, pursuant to Moore's Law, will magically turn its ignorant and untrained holder into an unsuspecting Bresson shooting a Leica.
In a $39.95 phone with a two-year contract extension.
Frankly, I will be surprised if Nikon and Canon will be around in ten years, given the exploding capabilities of the smartphone, or ANY professional photographer, for that matter.
What Hasselblad is doing here is a thinly-disguised act of desperation. The writing is on the well. Hasselblad should be congratulated for seeing, albeit at the last moment.
You're still only talking about technology. These changes are not going to spell the end of professional photography. No client has ever asked me what camera i use. They hire me because they know i'll get the job done. The 'job' usually involves organisation, schedules, budgets, travel, lighting, assistants, art directors, stylists... The camera, in whatever form it may take in the future, is not going to get the job done on its own.
Every home may have a microwave oven and everyone can warm up a frozen meal in five minutes, but the world still needs professional chefs.
BiggerDiggler: In two years, BOTH Hasselblad and Sony will be bent over a table with their pants down around their ankles by the newest smartphone technology. They are BOTH going to circle the drain, and so will most of the professional photographers lambasting this abortion, when the next generation of smartphones, pursuant to Moore's Law, will magically turn its ignorant and untrained holder into an unsuspecting Bresson shooting a Leica.
In a $39.95 phone with a two-year contract extension.
Frankly, I will be surprised if Nikon and Canon will be around in ten years, given the exploding capabilities of the smartphone, or ANY professional photographer, for that matter.
What Hasselblad is doing here is a thinly-disguised act of desperation. The writing is on the well. Hasselblad should be congratulated for seeing, albeit at the last moment.
You're forgetting something. Most pros are not hired for their cameras but for what they can do with their cameras. The technology may change but the pros will remain.
tektrader: I have a 28mm nikon PC lens whihc is quite good. But you know what? for doing stitched panoramas, its Too wide.
While this lens may be nice for single shot landscapes and architectural photos. I do 8 shots dual row panoramas and its just too wide.
50-80mm would be awesome for me. Maybe they will do that next? :)
Here in Italy Nital make a support for PC lenses specifically for three-shot panoramics. The Jumbo MBS keeps the lens fixed so shift movements will actually move the body rather than the lens. This makes for perfect stitching, even with close subjects.
meanwhile: Wondering, does this become a 35mm-ish equivalent T-S lens when put onto a APS-C crop camera, or it is more complicated than that because it's a T-S lens (that is, is there any loss of functionality)?
Yes, it becomes a 35mm-ish, as you say, and will work just the same. I've used a 24-PC on a Nikon D7000. The only limiting factor was the overhang on the top of the camera which prevented full shift movement. If you shoot Nikon make sure your body is compatible with full movements before buying.
Archearer: For me as for architect and architectural photographer it’s a GREAT news! Thank you Samyang! I’m sure I’ll buy this lens at the first day it will be on sale in Russia. Nikon’s 24 mm PC-E lens is tooooo expencive, even for professional shooting. Samyang engeneers, if you read this, please don’t stop your work and also produce one more wide-angle lens – for interiors. I mean if you’ll design something similar to canon’s 17mm ts-e, but available for ALL systems – it will be BESTSELLER in interior photographers professional environment. Look: there is no similar products in Nikon’s line, and in Sony’s, and in Pentax’s also. So at current time interior and landscape photographers HAVE to use canon ts-e 17mm or large format film cameras like Sinar, which are very heavy and slow operating. But I’d like to have possibility to shoot interiors on Nikon d800, because of it’s awesome 36mp sensor and because I already have all Nikon’s system of acessories.
Nikon filed a patent for a 17mm tilt-shift back in april so there should be one on the way.
Cy Cheze: "...the Edge 80 allows photographers to create vertical, horizontal and diagonal slices of focus through the image."
A sample or two might help show where or why this effect might be valuable. Does one see a scene that begs a selective swath in focus, and tilt a special lens, to match the sudden inspiration? For less dexterious follks, or for shots one cannot control, fancy defocus may be easier to achieve, after seeing a photo, with a more humble or trial and error inspiration, and a ditigal defocus tool.
Thanks Andy, you beat me to it!
Cy Cheze: "...the Edge 80 allows photographers to create vertical, horizontal and diagonal slices of focus through the image."
A sample or two might help show where or why this effect might be valuable. Does one see a scene that begs a selective swath in focus, and tilt a special lens, to match the sudden inspiration? For less dexterious follks, or for shots one cannot control, fancy defocus may be easier to achieve, after seeing a photo, with a more humble or trial and error inspiration, and a ditigal defocus tool.
Ok, I see what I was missing now. . the Tilt Tranformer/Nikkor combination is only available to Micro 4/3 cameras. It all makes sense now.
In that case a comparison between the Edge 80 and the Zork would be interesting as the price difference is huge.
Cy Cheze: "...the Edge 80 allows photographers to create vertical, horizontal and diagonal slices of focus through the image."
A sample or two might help show where or why this effect might be valuable. Does one see a scene that begs a selective swath in focus, and tilt a special lens, to match the sudden inspiration? For less dexterious follks, or for shots one cannot control, fancy defocus may be easier to achieve, after seeing a photo, with a more humble or trial and error inspiration, and a ditigal defocus tool.
Having a slice of focus that travels across the frame, rather than just a sweet spot, is really useful in food photography for highlighting certain areas and textures at different focal distances while maintaining a narrow depth of focus overall.
I usually use a Zork system with an enlarger lens and the results are excellent. But I'd be interested to know how this compares to the Tilt Transformer with a normal Nikkor lens fitted. Especially at shorter focal lengths as the Zork requires at least an 80mm.
I don't yet see any advantages to the Edge 80 over the Tilt Tranformer/Nikkor option. Perhaps I'm missing something.
Stabes: Personally, I find images like this offensive and highly invasive of people's privacy (regardless of whether permission was obtained). To gain from other's misery... well... I hope the photographer can live with it. I certainly couldn't.
Quite often people experiencing tragedy actually want the press to be there and record what they or their community are going through.
I think the majority of photojournalists work for genuine humanistic motives, wishing to highlight problems and injustices in the world so that others might respond to bring about change. It's true also that photojournalism is a career, and that as such a certain amount of glory hunting goes on. Photographing certain subjects and entering certain competitions is one way of advancing that career.
Personally I feel that ethical problems arise at the point when the photographs are presented out of context. Particularly when images created as journalism are later presented as art. But if you look at book and travelling exhibition World Press Photo seem careful not to overstep this mark.
Photojournalism is an ethical minefield but its best practitioners are usually well aware of their responsibilities.
mike kobal: I really wonder if those leaving the most immature and retarded comments would have posted if they had bothered to take a look at the series this photograph is part of. Fascinating to see such lack of humanitarian values and respect expressed by a large number of pixel peepers here on dpreview, a sad day for photography, for sure.
I agree with Mike. A lot of these comments have made me cringe. This is obviously not the place to talk about photography. I appreciate that DPR is starting to include news events that go beyond the technical but this level of response is just embarrassing.