1. We added close to 100 new lenses to the database (Leica, Samyang, Kenko, Voigtlander, Zeiss)
2. We now have a separate rating for infrared performance of many brand and third party lenses (Nikon, Canon, Sigma, Olympus, Panasonic, Tamron, Tokina and Zeiss). When looking at most of these lenses, you will now see a separate line that says “Infrared Rating”. For now, we only have three rating categories: Good, Mixed and Poor. We might expand on this in the future, if we start testing for IR performance of lenses. Big thanks to Bob Vishneski for this idea. Many of the lens ratings are based on Bob’s feedback and research.
3. The main “Lens Database” page now has some filtering options. You can filter lenses by Brand, Mount, Lens Type, Format, Price, Title, Focal Length and Release Date. We do not have advanced search capabilities yet, but that will be coming soon.
4. Lenses are now listed by focal length instead of title.
5. We created a comprehensive “Lens Index” that shows a listing of all lenses in the database.
6. Our lens reviews have not been fully integrated into the database yet, but a number of lenses have been changed with sample images and our rating. Once we complete this, we will enable the feature to sort by lens rating.
7. We had some issues with data on a number of lenses. Thanks to your feedback, we were able to fix them all.

Now we are asking for your help! We really need to make sure that the lens data we are presenting is accurate and contains as much information as possible. It would be great if you could go through the lenses you own in our database and let us know if there are any issues/errors. This is a one time exercise, since we only need to fix issues once, but it will be extremely helpful for all future visitors of the site. While we have gone through many of the lenses and verified their data, we know we might have missed some. Also, if you think there is a better way to present data or provide additional data, please let us know and we will work on it!

Once we get everything cleaned up, we will continue adding lenses to the database. Our goal is to do this in two phases – the first one is nearly complete (once we add all the currently available lenses) and the second one will be to add old / discontinued lenses.

The post Lens Database Updates appeared first on Photography Life.

1) Product Specifications

Size: 8 x 16′ (2.4 x 4.9 m)
Color: Black

Comes with a zippered carry bag

2) Initial Impressions

When I first unfolded the background, I was standing in my tiny condo. I knew the dimensions, but seeing it in its compact state tricked my mind into thinking it’ll be smaller than it really is. In my condo, it kept unfurling, getting bigger and bigger, taking up pretty much my entire living room (because it was laying out across the floor initially, instead of propped up against a wall.)

It does not have any sort of stand, so you do need a wall to prop it against. But once propped, it does support itself well.

The fabric feels somewhat cheap, but you cannot tell on camera. It does attract lint and dust, but again, not noticeable whatsoever in my photos. I did have to step across it a few times and some dirt from footprints gathered on the material. I took a damp cloth and the footprint marks came off easily.

3) Samples

All photos below taken with the Impact Super Collapsible Background. Taken with a Contax 645 medium format film camera and an 80 mm Zeiss lens with Portra 400 film:

Because of how the backdrop is stored, it does wrinkle. I recommend a garment steamers to remove creases.

I prefer mid-length shots with it—because you can really see the wrinkles in the bottom portion when doing a full length shot. I am sure you can take a garment steamer and steam it so that it’s smooth without wrinkles, but I did not have one to test with.

A shot where you can see the wrinkled bottom. Taken on a Canon 5D Mark III with a Canon 50 1.2 lens.

The backdrop comes with instructions on how to fold it back up. It folds up similar to a reflector, but since this is much larger than a reflector it can be tricky to fold. I had a hard time initially folding it back up – I am 5’3’’ and it was hard to get a good grip on it. However, my 6’4’’ husband had no trouble whatsoever folding it back up upon first try. He had it back in its bag within seconds.

When I opened it the first time, I didn’t think I was going to like it. I thought I was going to prefer a black paper backdrop instead because of the wrinkles. But after my first session with it, I am obsessed and want more colors! The downsides are the wrinkles and the fact that you do need a wall, or other support to allow it to sit upright. The upside (which far outweighs any downside to me) is that it compact, folds up in seconds (once you get the hang of it), is portable, and allows me to not have to pull out the background stands (which take up more space and more time).

I am very happy with this stand and am thrilled that I can just throw it in my car and use on location as needed (unlike my 8 foot long paper rolls, which take up much more space and barely fit in my car).

4) Summary

If you are looking for a backdrop alternative to heavy, awkward, bulky paper rolls, the Impact Super Collapsible Backdrop is a wonderful solution. It folds up nicely and can be easily hidden under a bed. It is light weight and provides a beautiful backdrop for studio work. One drawback is that you do need a wall to prop it against. And another is that it wrinkles easily. However, I find its convenience far outweighs and negatives. I highly recommend the product.

5) Pricing and where to buy

The Impact Super Collapsible Backdrop is priced at $99.95 and is sold at B&H Photo Video.

The post Impact Super Collapsible Background Review appeared first on Photography Life.

Luckily, Adobe decided against it. Lightroom is to remain with the regular license for the foreseeable future – the team assured concerned users during a Google+ Hangout session, which you can watch below.

What is clear from the above session is that Adobe is looking into introducing more cloud-based functions into their software, but Lightroom is to remain a stand-alone application and not part of CC. Obviously, that made a lot of photographers quite happy, myself among them. For a while, though, I thought this was it for my love affair with Lightroom – I use it more or less daily and paying for it monthly would be too expensive. No need to worry now, though. A lot of Mastering Lightroom series articles are yet to come!

The post Lightroom to Avoid CC’s Subscription-Only License appeared first on Photography Life.

1) Initial Thoughts

I love the size of this reflector. It’s quite large, 35″ x 70″ and is the perfect size for portraits. I used it length wise, and it pretty much covered the entire height of my subject. It folds up nicely for easy storage. There are two different reflective fabrics that come with it– one is white/black combination and the other is a gold/silver combination. I use the white/black combination the most, as that combo yields the most desirable results for me.

While I occasionally have someone there to hold my reflector, I often don’t. This reflector system is perfect for those times when I don’t have an assistant available.

However, do note, that the stand does not come with it. I used my Alien Bee heavy duty light stand to support the reflector panel system.

2) Product Specification

Dimensions: 35 x 70″ (90 x 178 cm)
Mount: 5/8″ (16 mm)
Weight: 5.0 lb (2.26 kg)

3) Features and Construction

Included in this kit are a white/black reversible cloth, silver/gold reversible cloth, and a mounting system to attach it to a light stand. It does not come with a stand to support the reflector panel.

4) Sample Images

There was a large window to camera left, so I placed the reflector with the white side facing my subject to camera right. This scene was lit with available window light.

(I panned out to show how I had reflector panel set up — however I did move the reflector closer to my subject after a few test shots — the below shots are with the reflector just a little bit closer to subject)

(Canon 5D Mark III with a Canon 50 1.2 lens — the reflector softens the contrast of the window light hitting the subject)

(Canon 5D Mark III with a Canon 50 1.2 lens)

(And if you recall from my previous post, I love film and I did shoot some Fuji 400H at this shoot: Contax 645 medium format film camera with a Zeiss 80 2.0 lens)

(Contax 645 medium format film camera with a Zeiss 80 2.0 lens)

I used the white surface for these portraits. I don’t often like the look of the gold or the silver, so I most likely will not use that part of the kit.

5) Conclusion

I really enjoyed using the reflector panel system – it’s quite large, folds up to a compact size, and it’s nice that stands on its own (no need to an assistant to hold). I prefer it over the circle reflector that I already own because of its size (the size when in use and it size when folded up) and the fact that I can use it hands free.

6) Where to buy

The post Impact Reflector Panel Review appeared first on Photography Life.

Its impressive optical design also put it in a completely different league than Nikon’s version, as it is priced at a hefty $11,799, versus Nikon’s $6,750. Judging by its MTF data (see how to read an MTF chart), this will be one killer lens.

Here is the official announcement:

Introducing the EF 200-400mm f/4L IS USM Extender 1.4x – improved performance and versatility for professional sports and wildlife photographers

London, UK, 14 May 2013 – Canon today adds a new category to its range of high-performance super-telephoto lenses, with the introduction of the EF 200-400mm f/4L IS USM Extender 1.4x to Canon’s acclaimed L-series. The EF 200-400mm f/4L IS USM Extender 1.4x features a flexible 200-400mm focal range with a fixed f/4 aperture, 4-stop optical Image Stabilizer and for the first time in a commercially available lens, a built-in 1.4x extender. These features combine to provide an outstandingly versatile lens for professional sports or wildlife photographers. A robust magnesium alloy design, environmental protection and specialised lens coatings also make it ideal for mobile use, combining with the finest quality optics to deliver exceptional results, even in the harshest conditions.

Get closer to the action with superior image quality

The reach of the EF 200-400mm f/4L IS USM Extender 1.4x is boosted by its internal 1.4x extender, which is engaged or disengaged at the flick of a lever to provide an extended focal length of 280mm to 560mm – allowing photographers to get even closer to distant action. Ensuring the highest image performance, the optical design includes both fluorite and Ultra-low Dispersion (UD) lens elements, which help minimise chromatic aberration and eliminate colour blurring. Advanced anti-reflection SubWavelength Structure Coating (SWC) and Super Spectra Coating also reduce ghosting and flare. Thanks to the use of the latest optical technologies, image performance is unaffected when the integrated extender is used.

With a constant f/4 aperture the use of high shutter speeds to capture fast-paced action or a low-light scene is possible. A newly designed optical Image Stabilizer, which provides users with a four stop advantage, while IS ‘Mode 3’ applies image stabilisation only at the time of exposure – ensuring that photographers can pan with fast-paced action without IS overcompensating for movement. This feature is ideal for sports photographers, who typically have only a split-second to capture a subject in front of them.

Powerful, flexible focusing

The EF 200-400mm f/4L IS USM Extender 1.4x features Canon’s pioneering ring-type Ultrasonic Motor providing fast, silent autofocusing. For those who prefer to fine-tune focus themselves, full-time manual override allows photographers to manually focus at any moment when using AF. The Power Focus (PF) mode also increases versatility during movie shooting with the EOS-1D C or EOS-1D X, enabling photographers to achieve an accurate pull-focus effect at one of two speeds, simply by twisting the focus recall ring and stopping at a pre-set distance.

High-performance design for professional demands

Designed to answer professional demands for superior image quality and versatile zoom range, the EF 200-400mm f/4L IS USM Extender 1.4x a boasts a premium-quality design befitting Canon’s industry-renowned L-series lenses.

The tough magnesium alloy chassis ensures that, despite the inclusion of the 1.4x extender, the lens is a similar weight to lenses of comparable focal length. Fluorine coatings on the front and rear lens elements also reduce the ability of dirt to cling to the lens surface, while a dust and water-resistant construction allows photographers to shoot in challenging weather conditions. The combination of outstanding optical performance, versatility, weight and tough construction will make it an essential part of any professional sports or wildlife photographer’s kitbag.

EF 200-400mm f/4L IS USM Extender 1.4x key features

• Built-in 1.4x extender, for extra magnification when you need it
• Shoot in low light with four-stop Image Stabilizer
• High image quality using Fluorite lens elements
• Fast AF with USM technology
• Robust design for use in the toughest environments

Pre-order Links

As always, you can pre-order your copy of the Canon 200-400mm f/4L through our trusted affiliate B&H:

• Canon 200-400mm f/4 IS USM Extender 1.4x for $11,799

The post Canon EF 200-400mm f/4L Announcement appeared first on Photography Life.

The specs of the lens look great, but the price is rather steep – $900 MSRP. That’s a pretty hefty sum for a small CX lens. It is obviously a pro-level lens targeted at existing Nikon 1 V1/V2 owners, so I do not expect it to be super popular among J1/J2/J3 and S1 owners.

Some sample images from the lens (courtesy of Nikonusa.com):

Not bad at all!

And here is the official press release:

The Newest Addition to the Nikon 1 System, the 1 NIKKOR 32mm f/1.2 Lens, Offers Superior Resolution and Incredible Depth of Field to Nikon 1 Shooters

MELVILLE, N.Y. (May 14, 2013) – Today, Nikon Inc. introduced the newest addition to the acclaimed Nikon 1 system, the 1 NIKKOR 32mm f/1.2 lens, a fast medium-telephoto offering for photographers who appreciate the speed and portability of the Nikon 1 System. With a fixed focal length of 32mm and a maximum aperture of f/1.2, the new 32mm lens is the fastest in the ever expanding 1 NIKKOR lens lineup. An ideal lens for portraiture, the 1 NIKKOR 32mm f/1.2 lens is capable of rendering breathtaking images that capture every detail.

The 1 NIKKOR 32mm f/1.2 lens (86mm equivalent in 35mm format) enables brilliant sharpness and is able to resolve intricate details in portraits such as hair, eyes and eyelashes, while also allowing for strategically precise image blur and bokeh. From flattering portraits to still-life art, this fast lens gives users the ability to emphasize a primary subject combined with a skillfully blurred background for a dramatic yet natural separation, and shoot with confidence in challenging light.

Additionally, core NIKKOR lens technologies have been carried over into the 1 NIKKOR series, as the 32mm f/1.2 is the first 1 NIKKOR lens to be equipped with a Silent Wave Motor (SWM), a manual focus ring and a Nano Crystal Coat — all traditional staples of the NIKKOR line. Utilizing the Close-Range Correction System, the lens is able to provide high-resolution, realistic textures and minimized aberration, even during close-up shooting. The M/A (autofocus with manual override) mode lets the user to manually focus during autofocus operation for intuitive and fine adjustments while shooting. Additionally, the lens sports an elegant and portable design while Nikon’s exclusive Nano Crystal Coat effectively reduces instances of ghost and flare for optimal image quality.

With the addition of the new 1 NIKKOR 32mm f/1.2 lens, the 1 NIKKOR lens lineup now offers nine total lenses for photographers seeking the ideal harmony of performance and portability.

Nikon will continue to expand the 1 NIKKOR lineup with lenses that make the most of the capabilities and performance offered by Nikon 1 advanced cameras with interchangeable lenses, while consistently offering new ways for users to express their creative vision.

Price and Availability

The 1 NIKKOR 32mm f/1.2 lens will be available in Black and Silver for a suggested retail price (SRP) of $899.95* in June 2013. For more information on the Nikon 1 system and other 1 NIKKOR lenses as well as other Nikon products, please visit www.nikonusa.com.

The post Nikon 1 32mm f/1.2 Announcement appeared first on Photography Life.

Overview

This is an in-depth review of the Nikon D7100 DSLR that was announced on February 20, 2013, along with the Nikon WR-1 wireless remote controller. Although I have been shooting with the Nikon D7100 for about two months now, I specifically postponed the review, because I wanted to thoroughly test it and also make sure that I test at least two samples of the camera. I have been very concerned about Nikon’s latest rushed product launches with dust, oil and autofocus issues, so my intent was to examine the camera in detail and test all of its capabilities in various environments for this review.

After taking a long nap with 12-16 MP DX and FX cameras and letting Canon take the resolution throne with practically every newly announced camera, Nikon finally struck hard last year, when it announced the 36 MP full-frame Nikon D800 camera. Ever since, Nikon has been on a megapixel roll bringing one high resolution camera after another and not letting its competition come close. As of today, the whole DX line-up from entry-level to high-end cameras features 24 MP APS-C sensors, and the undisputed resolution king, the Nikon D800, still has no equivalent on the market. Looking back, Canon always had the edge over Nikon in resolution; it seemed like Nikon preferred pixel quality over quantity.

Lately, however, Canon and Nikon traded places – now Canon is slowing down, while Nikon is pushing hard for more and more pixels. Even before the D7100 came out, I knew that Nikon would go for a high resolution sensor – a given, since the previously announced D3200 and D5200 already had 24 MP sensors. But aside from that, I really did not think Nikon would have anything interesting to offer compared to the predecessor, the Nikon D7000 – a camera that was already excellent in many ways. So I had pretty low expectations for the D7100, as I did not think Nikon would bring any major innovations to the table. How wrong I was! When I read the D7100′s specifications for the first time, I was blown away.

Historically, Nikon has been using its 51-point Multi-CAM 3500 autofocus system only on high-end FX and DX DSLRs. Therefore, the only DX cameras that had this AF system were the Nikon D300/D300s, cameras specifically targeted for action and sports photography. When the D7000 came out and replaced the D90, it was clear that Nikon was moving up the semi-professional line-up by bringing in higher-end features and tougher build. At the same time, Japanese manufacturer made sure the D7000 line did not compete with the high-end D300s, because it was inferior in several aspects such as autofocus system, buffer, build (even with use of tougher materials than those of predecessors) and ergonomics. With the introduction of the D7100, Nikon once again upped the game and, by doing so, confused the heck out of many people, including myself. The “Advanced Multi-CAM 3500″ autofocus system used on full-frame cameras such as Nikon D800 and D4 made its way into the D7100 – something many of us did not expect to see. Whether the D7100 replaces the D300s still remains a question, since it still falls short in some key areas like buffer capacity and ergonomics. But one thing for sure, D7100 is the best DX camera made by Nikon to date. Read on to see why.

1) Nikon D7100 Specifications

Main Features:

1. High Resolution 24.1 MP DX-format CMOS sensor (APS-C)
2. High Speed 6 frames per second (FPS) continuous shooting speed and up to 7 FPS in 1.3x crop mode
3. 2,016-pixel RGB (3D Color Matrix Metering II) sensor
4. Pentaprism Optical Viewfinder with approx. 100% frame coverage
5. Twin SD Card Slots with SD, SDHC and SDXC memory card compatibility
6. Built-in i-TTL Speedlight flash control through Wireless Commander
7. Optional MB-D15 multi-power pack
8. Two User Definable Settings (U1, U2) on the Mode Selector Dial
9. Virtual Horizon Graphic Indicator
10. Full HD 1080/60i Movie capability with full time autofocus and external stereo microphone jack
11. Dynamic ISO range from 100 to 6400 expandable to 25,600 (Hi2)
12. Customizable 51 point AF System with 15 cross-type sensors
13. Magnesium-alloy top/rear covers and weather and dust sealing
14. 150,000 cycle-rated shutter system
15. 3.2″ diagonal TFT-LCD with 1,228,800 dots
16. Compact EN-EL15 Battery (up to 950 shots)
17. Built-in HDMI Connection
18. Active D-Lighting for enhancing details in shadows and highlights
19. Standard, Neutral, Vivid, Monochrome, Portrait and Landscape Picture Controls
20. Portrait, Landscape, Child, Sports, Close-up and Night Portrait Scene Modes
21. Compatible with WU-1a Wireless Mobile Adapter for wireless operation of the camera

Detailed technical specifications for the Nikon D7100 are available at Nikonusa.com.

2) Camera construction and handling

Construction-wise, the Nikon D7100 still maintains the same tough body as the D7000, with the top and rear of the camera made of magnesium alloy (the front and bottom parts are plastic). Build is typically not a concern for most Nikon DSLRs, but magnesium alloy does handle occasional bumps and drops better than plastic. What has been improved is weather sealing – Nikon claims that the D7100 now has “equivalent to the D800 series and D300S” sealing applied to different parts of the body. In short, this camera is supposed to be able to handle tough weather and some moisture. And all this was done using lighter parts, since the Nikon D7100 is actually slightly lighter than its predecessor. Here is an image that shows sealed parts of the D7100:

And here is a skeleton of the camera, showing the magnesium alloy top and back:

Some of our readers emailed me asking if the lens mount is made of plastic or if they should be concerned about the mount potentially bending when using heavy lenses. First of all, the mount is all metal. It is surrounded by very tough plastic that is not easily bendable or breakable. I have used the Nikon D7100 with some heavy lenses like the Nikon 80-400mm and had no problems whatsoever, even when letting the lens hang off the mount. I would not recommend to stress the mount with very heavy lenses, though, but this recommendation applies to any camera, not just D7100. There is a reason why Nikon includes a tripod foot with all heavy lenses, so use that one instead. Generally, if a lens is heavier than the camera, you should always mount the lens on the tripod and let the camera hang instead. More than that, few would find holding such a heavy camera and lens combination by the camera grip alone, so you are unlikely to ever stress the mount enough to damage it that way.

In terms of handling, the D7100 balances and fits nicely in hands, very similarly to the Nikon D7000. The MB-D15 battery pack is also available for better balancing with heavier lenses and convenience for switching from landscape to portrait orientation. D7100 continues to use EN-EL15 battery, which is nice, because that same battery is now shared across the following Nikon camera bodies: Nikon 1 V1, D7000, D600 and D800/D800E. So if you already own any of these cameras, you do not have to worry about bringing a separate charger with you when you travel or buying several different extra batteries.

The exterior of the camera went through some changes compared to the D7000, though nothing too major. Ergonomically, the camera is now a little more “curvy” around the edges, which is nice. The grip has been slightly modified on the D7100. I still prefer the more textured rubber on my D800E grip, but it feels pretty darn close overall. Aside from these changes in ergonomics, the buttons and switches on the front of the camera are the same as on the D7000, as seen below (Left: Nikon D7100, Right: Nikon D7000):

In comparison, the top of the camera did see some changes. First of all, the camera mode dial is now lockable. You will no longer be able to accidentally change the camera mode as on the D7000 – you need to push the center button in order to move the dial (something we previously saw on the D600). Next, there is a new “Effects” mode on the dial, which allows you to apply the following digital filters to your images: night vision, color sketch, miniature, selective color, silhouette, high key and low key. The Nikon D7100 sports a stereo microphone, which sits right next to the flash hotshoe. The shutter area also went through a change – the metering button has now been moved to the lower left to make space for the dedicated movie record button, just like on the D600.

The back of the camera is where we see the most changes. The layout of the buttons to the left of the LCD has been rearranged – now there are five buttons, two of which (zoom in and out) have traded places. This is consistent with what Nikon has been doing on the latest cameras, but certainly worth considering for existing D7000 owners if they plan to use both cameras. The fifth “i” button brings up the interactive menu to make changes to camera settings. To be honest, I do not see the point of adding this button. Nikon has been using a single Info button on the D800/D800E to accomplish what the D7100 does with two buttons – you just press the Info button twice and you can make quick changes to the camera. Nikon designers should have kept only four buttons on the left back of the D7100, similar to the D7000.

The new 3.2″ LCD screen with 1.2 million dots on the D7100 is gorgeous. Images look crisp and beautiful, with vibrant colors. However, Nikon has done the same thing that Canon has been doing for a while on its DSLR cameras – it got rid of the attachable plastic LCD cover. While there is still a protective cover, it now sits recessed into the body and cannot be removed. So if you end up scratching the surface, you will have to send your camera to Nikon for cover replacement. Images are certainly reproduced better on the new LCD, but at the cost of this snap-on cover. Unfortunately, you cannot buy a third party snap-on cover and attach it either; there is no place on the back of the camera to attach the cover to. Don’t worry too much – there are some great stick-on type protectors available on B&H. In some ways, they are much superior to Nikon’s old snap-on covers. For example, I’ve seen small sand crystals get between them and the glass screen, which often resulted in the screen being chipped.

The Live View lever with the video record button is now gone from where it was previously. The D7100 is now consistent with the D600 and D800/D800E cameras – the multi-selector button gained the same locking mechanism and the Live View button with camera and movie mode selector sit right below, followed by the Info button.

Speaking of Live View, the D7000 Live View mode was mainly designed for video, which made it difficult to use for normal focusing. On the D7100, it works just like with other Nikon DSLRs with camera and video modes, and that is great. However, I encountered a few annoying issues with D7100′s Live View implementation. First, although Live View now has a camera mode, the autofocus area is huge, just like in the movie mode. Forget about being able to point to a small area, zoom in and focus on it like you can on higher-end cameras. When you press the zoom in button once in Live View, the focus area occupies half of the space! Second, Live View is very laggy, especially after focus is acquired. Third, you cannot change the aperture of the lens when Live View is engaged – the same problem that we keep seeing over and over again. I don’t understand why Nikon keeps crippling this important feature. Perhaps to distinguish D7100 from higher-end cameras?

3) Menu System

Menu system on the Nikon D7100 is very similar to the one on the D600. As expected, there are some new firmware features found on the D7100 that are not there on the D7000. For example, the “Exposure delay mode” menu option now allows you to choose between 1 to 3 seconds of delay, while the D7000 only had two selections to turn Exposure delay mode on and off. Auto ISO has also been updated – now you can set your minimum shutter speed to “Auto” and tweak the Auto behavior even further by making the shutter speed slower or faster than the focal length of the lens. This is a great feature that I use quite a bit on my Nikon DSLRs.

Another great addition to the D7100 is the ability to instantly zoom to your image at 100% using the “OK” button on the multi-selector. This feature was previously available only on professional Nikon DSLRs – even the Nikon D600 does not have it. If you do not have it turned on, I highly recommend that you do. Go to “Custom Setting Menu” -> “Controls” (f) -> “OK button” -> “Playback mode” -> “Zoom on/off” -> “Medium magnification”. I like mine set to medium magnification, but you can set yours to “High magnification” to zoom in even further. Once you do this, you can simply press the “OK” button the multi-selector when displaying images on the LCD and the camera will zoom in instantly to your selected focus point. You do not have to press the zoom in button several times anymore. This saves me a ton of time when taking pictures and I can check if my focus was dead on or not. If you press the OK button again, the camera will zoom out back to the full image. Great stuff!

4) Camera Sensor and Image Processor

The Nikon D7100 comes with a newer EXPEED 3 processor, which allows for higher throughput for both movies and images. Movies can now be recorded in high resolution format at up to 60 frames per second, while the D7000 was limited to 24 frames per second. Although the speed of the camera remained the same for full size images at 6 fps in continuous release mode, keep in mind that resolution has increased from 16 MP to 24 MP, so the Nikon D7100 now pushes a lot more data through compared to its predecessor. Higher resolution sensor also means larger prints and more cropping opportunities when photographing wildlife.

With the D7100, Nikon has done something interesting that it has never done on any of its DSLRs before – it did not use an anti-aliasing filter in front of the sensor. As you may already know, the Nikon D800E has an anti-aliasing filter that cancels itself out, as explained in this article. The Nikon D7100, on the other hand, does not have such filter at all. Because of such high resolution sensor, the effect of an anti-aliasing filter would increase the amount of blur in images in addition to many DX lenses not having the resolving power to handle so many pixels already. Therefore, I agree with Nikon’s decision to remove the filter. Keep in mind that more resolution puts more stress on lenses, so if you want to see the best pixel-level sharpness, you will have to use good glass instead of those cheap kit lenses. The amount of detail you can get from this camera is extremely high when coupled with good lenses. Take a look at the following image:

Here is a 100% crop from the top right area:

Now that’s a lot of detail!

Nikon has been quite successful in keeping high ISO noise amounts low, while keeping image quality standards high in their latest generation DSLRs with more megapixels. With an 8 megapixel jump, does the Nikon D7100 keep up with image quality of the 16 MP Nikon D7000? The answer is in page 2 of this review, where you will find a detailed comparison between the Nikon D7100, D7000 and D800E. In short, the sensor on the Nikon D7100 is amazing – the best DX sensor from Nikon thus far.

5) Quality Assurance

After Nikon’s quality assurance disasters with the D800/D800E and D600, many of our readers have been asking if they should be concerned about the D7100 as well. Before writing this review, I made sure to test at least two copies of the D7100 and I used the cameras in a lab environment to see if there is anything to be concerned about. I specifically checked for three things – the dreaded “left AF issue” we saw on the D800/D800E, backfocus problems and oil/dust issues. I am happy to report that both samples of the D7100 I tested are free from all of these issues. All AF points were spot on, there were no severe front or back focus problems and after shooting over 5 thousand images on the current D7100 unit that I have in my hands, I have not seen any signs of dust or oil appearing on the sensor. Looks like Nikon did a much better job with the launch of the D7100. Our readers have also been providing good feedback and I have not seen any serious complaints about the camera so far.

This does not mean that every unit out there is free of issues. As I have numerously explained before in various articles, there is always sample variation, shipping issues and other potential defects that might surface initially or over time. This is quite normal and nothing to be worried about. See this detailed article on what you should do to test the autofocus system of your camera. Also, check out our photography tips for beginners section, where you will find some articles on how to check your cameras and lenses for issues. If any issues do arise, you are welcome to share in the comments section.

6) Autofocus Performance

As I pointed out in the beginning of this review, Nikon’s decision to use the professional 51 point autofocus system on the D7100 confused many photographers, including myself. The Multi-CAM 3500DX autofocus system is not the same one used on the D300s camera either – it is an updated version called “Advanced Multi-CAM 3500DX”, with the capability to handle autofocus at f/8. Nikon uses the FX version of this autofocus module on its professional cameras like Nikon D800/D800E and D4. This is a huge upgrade over the existing 39 point AF system found on the Nikon D7000. Not just because it is more robust/faster and more accurate, but also because those 51 points spread across the frame, simplifying the process of composing images. Instead of focusing and recomposing, you can just move the focus point and let the camera do the job. Autofocus is extremely reliable in all 51 points in good light and if you find yourself struggling in low-light conditions, just use any of the 15 cross-type sensors located near the center and AF accuracy will greatly improve.

The autofocus system works great for any kind of sports and wildlife photography. One of the most challenging tasks for any camera is to focus on extremely fast moving subjects with erratic movements. Photographing birds in flight, for example, puts a lot of stress on both the camera and the lens. I used the Nikon D7100 with a variety of different lenses, including the new Nikon 80-400mm VR, Nikon 300mm f/4 and Nikon 70-200mm VR II. Autofocus performance was very impressive with all three for birding, but I still preferred my Nikon 300mm f/4 AF-D + TC-14E for critical sharpness. I suspect that my sample of the 80-400mm VR had some optical issues at 400mm, so I will be testing another sample within the next 2 weeks and provide a detailed report in my upcoming review.

Subject tracking is excellent. Here is a sequence of images shot with a single burst:

The Nikon D7100 did an excellent job locking on to the bird and tracking it. I used 51-point dynamic AF area to capture these shots and every single one of the images was in perfect focus.

Overall, there is very little to complain about when it comes to Nikon D7100′s AF system. It is, without a doubt, the biggest strength of this camera.

7) Camera Buffer

With the biggest strength also comes a rather limiting weakness. Because pushing 24 megapixels takes up a lot of bandwidth, the camera requires a big buffer to store images. Unfortunately, Nikon decided to keep the buffer of the D7100 small, which means that the camera will slow down significantly in continuous release mode once the buffer is full. I have done a short analysis of the D7100′s buffer when compared to the Nikon D7000 in my Nikon D7100 vs D7000 article. It turns out that the Nikon D7100 can push only 6 frames in lossless 14-bit RAW format, which is literally a second before the buffer gets full. If you change to smaller RAW files or JPEG, the buffer will obviously fill slower, but it is still a rather disappointing finding for wildlife photographers. So if you want to shoot fast at 6 fps, you will have to shoot in bursts. Not a huge problem for many of us, but certainly a concern for someone photographing fast action over an extended period of time.

8) Metering and Exposure

Nikon decided to reuse D7000′s 2,016-pixel RGB sensor on the D7100. While the metering sensor does a great job with determining exposure, it works differently than previous generation metering sensors found on earlier cameras – it puts a priority over human skin tones and faces. Because of this, the Nikon D7100 can sometimes disregard other bright or dark areas of the image and instead only focus on properly exposing the skin tones in Matrix Metering mode. So if you are coming from an older generation Nikon DSLR, keep this in mind. Previously, you had to remember to adjust exposure compensation when putting the subject against a bright background – the subject would often turn out very dark, becoming a silhouette. In comparison, the new metering system now tries to expose for the face and often ends up blowing out the background. This is a better and a more accurate approach for photographing people in my opinion, but it does often result in overexposure.

For other types of photography, the new metering system works very reliably. I photographed a couple of sunsets with the D7100 and I was pleased with how the camera exposed my shots. It gave me a nice balance between brights and darks, allowing me to recover enough detail for both without bracketing/HDR or filters. Take a look at the following shot:

And here is how the same image looks after a couple of tweaks in Lightroom:

I tried to compensate the image by +- 1-2 stops, but images came out either too bright or too dark. I am sure I would have gotten better results with some filters, but this is still not bad for a typical sunset shot.

9) Movie Recording

Although I personally do not shoot much video (except for occasional family videos), the high-def 1080p video mode on the Nikon D7100 produces excellent results. Thanks to the new EXPEED 3 processor, you can now record movies in 1920×1080 resolution at up to 60 frames per second (interlaced). Here is a sample video that I recorded of a rabbit eating grass:

The video was recorded hand-held using the Nikon 14-24mm f/2.8G lens, so it is a little shaky. I recorded it at the default video settings – 1920×1080 @ 30p. Make sure to switch to full screen mode first, then pick 1080p quality to see all the details.

As with the Nikon D7100, you cannot change ISO or aperture when Live View is engaged. If you want to make changes to your exposure, your only choice is to leave View View, change the settings, then get back to it. It is very unfortunate that Nikon still has these sort of limitations on its DSLRs…

10) Dynamic Range

When it comes to dynamic range, Nikon has not been disappointing us with its latest camera releases. While dynamic range on the D7100 is not as good as on the D800, it is pretty darn close. I did a few RAW adjustments to some images and I was able to recover plenty of highlight/shadow detail. DxOMark ranks the Nikon D7100 as the 12th among all cameras, including medium format at 13.7 EVs, which is pretty close to what the Nikon D7000 and D5200 can do. So if you are a landscape photographer, you have a lot of options with this camera.

If you want to recover the most amount of detail without doing any bracketing or HDR, you should use the base ISO value of 100 on the Nikon D7100 (important for architectural and landscape photography).

ISO Performance

Camera Comparisons

Summary and Image Samples

The post Nikon D7100 Review appeared first on Photography Life.

I chose the Dawn/Deep Sea Blue color combination, but there are other colors available.

1) Product Specifications

- Two-Sided Color for Flexibility of Use
- Suitable for Video / Still Photography
- 100% High-Quality Cotton Material
- Helps Absorb Light/Minimizes Reflections
- Seamless / One-Piece Fabric
- Five Eyelets on Top for Hanging
- 4″ Rod Pocket
- Includes Carry Bag
- Size: 10’x12’ (3.0×3.7 m)

2) Packaging and Field Use

This background comes, as advertised, in it’s own carrying bag. Unfortunately, a seam on the bag tore before I was ever even able to photograph it, making the carrying bag useless. Fortunately, the background is small and light enough that I’ll be able to pack it in another bag if I ever need to take it with me on location, but it is still concerning that it won’t be protected while not in use.

OK, so now that that’s out of the way, we can just forget about the bag. The background is quite lightweight compared to other fabric backdrops I’ve used (like those from drop It MODERN), so it’s very easy to handle and setup. My backdrop system uses a rod that goes through the rod pocket, so I didn’t get to use the eyelets, but they feel like they are installed very securely.

Once I had the background set up I noticed it had quite a few wrinkles from being folded. These don’t smooth out once it’s hung up. A few thoughts ran through my head: Will they look good in a photograph? Will they detract from the image? If I defocus them enough will they just blend into the rest of the background? I also noticed some spots that almost looked like they were bleached. They had a light pink/purple color to them. How would these photograph? There’s only one way to find out.

3) Samples

As you can see in the following images, depending on your aperture and your distance from the subject or backdrop, the look of the background can vary greatly. It can range from a subtle variation of light and color to a somewhat wrinkly-looking backdrop.

I chose to shoot the majority of my test shots with natural light so that I would be able to control my aperture and defocus the background. Furthermore, I really only prefered the photos I took that were tighter portraits since they further defocused the background. Personally, I’m pretty sure that the only way I will use this background is for natural light portraits. I just don’t care for the look of the background with the folds and wrinkles in it. Of course, I could probably steam them out, but I’m too lazy for that.

I read a review that cautioned about using the background with a light source behind it, as it allows light to pass through. Indeed, some light will come through the fabric, but if you’re shooting at typical settings for studio lighting (1/200, f/8, ISO 200) you probably won’t see any light coming through unless sunlight is falling directly on the fabric.

Here are some sample images that my patient and cooperative studio mate Tess agreed to pose for.

These first three photos were shot on the light background at f/2.8, f/2.0 and f/1.4, respectively:

These next two photos show a bigger crease in the light side of the background. You can also see the pink/purple spots on the left side of the images. They were shot at f/1.4 and f/2.8, respectively:

These next three photos were shot on the dark side of the background at f/1.4, f/2.0 and f/2.8, respectively:

I wouldn’t consider this a proper review without at least testing this background with studio lighting. I was surprised how much light this background absorbs. It hardly showed up at at all when I relied on the spill from my key light to light it. I had to put a background light on it to get it to appear. In this image, my background light was about one stop brighter than my key light and had a 20-degree grid on it. Personally, I don’t prefer the look of this background when shooting at f/8, so I’ll stick to natural light and wide apertures. This image was shot at f/8 on the dark side.

Finally, this image shows how I would love to use this background. It was shot with the light side of the background somewhat bunched across the top and pooled on the floor. Tess was seated. This image was shot at f/2.0.

4) Summary

For a little more than the price of a large roll of seamless paper, this reversible muslin background is a great piece of gear to have. It is lightweight, portable and offers a variety of different looks. Some people might have the initial impression of “cheesy senior photo background”, but with a shallow depth of field and some nice light, it is anything but cheesy. If you do a lot of natural light studio work and want to get away from seamless paper, I highly recommend one of these backgrounds.

5) Pricing and Where to Buy

The Impact Reversible Muslin Background is regularly priced at $83.95 and is available at B&H Photo Video.

The post Impact Reversible Muslin Background Review appeared first on Photography Life.

Olympus Pen E-P5

Featuring the same 16 megapixel m4/3 CMOS sensor as its older brother, the new E-P5 packs a lot of punch under the tiny all-metal body. There’s a tilting LCD touchscreen with 1.036 million dots, a superb in-body image stabilization that compensates movement in five directions simultaneously and manual focus aids. Most impressively, perhaps, you can shoot it at 9 frames per second with shutter speeds of up to 1/8000s, which is a first for a mirrorless camera. The same speedy AF system as found in OM-D E-M5 helps to make sure those shots are in accurate focus and works with continuous shooting of up to 5 frames per second. Even though we find contrast-based AF systems to be quite poor at tracking moving subjects, as with E-M5, all these specifications promise E-P5 to be a snappy performer. 1/320s flash sync speed and 44ms shutter lag (when set up properly in the menus) compliment such assumptions. Showing a good example to much more expensive cameras of all classes and, frankly, putting them to shame, E-P5 has built-in Wi-Fi connection.

So far so good, yet there is one thing many photographers will not appreciate. As with previous PEN cameras, E-P5 doesn’t offer an EVF unless you go for the optional external VF-4. And then we hit the price question. It costs $999, body only. There are two sides to this. The pinnacle of Olympus mirrorless cameras, OM-D E-M5, has an EVF and, with extremely similar specifications, costs the same (without rebates). But if you think OM-D is small, E-P5 is even more pocketable yet has a pop-up flash, and these are the advantages you gain by losing a viewfinder. Basically what this means you now have a choice – larger with an EVF, or smaller without one – and there are no other compromises to be made. It’s a good-looking chap, too, and well in-line with recent Olympus styling direction. It must be noted, though, that the larger-sensor Sony NEX-6 is basically just as small body only, but has an EVF. When mounted with comparable lenses, however, Olympus will make for a much smaller package in the end.

Specifications and Press Release

Here is a short list of key specifications:

• 16.1 megapixel m4/3 CMOS sensor also found in OM-D E-M5, metal body
• 100-25600 ISO range
• Speedy contrast-detect AF system
• 9 frames per second continuous shooting (5 with continuous AF)
• 3″ 1.036 million dot LCD touchscreen
• Up to 1/8000 shutter speed, short shutter lag and built-in Wi-Fi
• Battery good for around 330 shots
• Body-only weight (with battery) 420g (0.93 lb/14.82 oz), very small
• Priced at approximately $999

Here is the official press release:

THE ONLY THING RETRO ABOUT IT IS THE WAY IT LOOKS: NEW OLYMPUS FLAGSHIP PEN E-P5® TAKES COMPACT SYSTEM CAMERAS TO A NEW LEVEL

Advanced Performance in a Classic Design: 1/8000th of a Second Shutter, Built-in Wi-Fi, Custom Control, Creative Functions, Optional VF-4 Viewfinder and More

CENTER VALLEY, Pa., May 10, 2013 – Olympus marks the 50th anniversary of the legendary PEN F with the launch of the new Olympus® PEN E-P5, a digital update of a classic film camera designed with breakthrough technology and incredible performance advancements. Designed for photographers looking for superior image quality in a portable body, the PEN E-P5 delivers a stellar shooting experience with 1/8000th of a second shutter speed – a world-first for the Compact System Camera class – built-in Wi-Fi, autofocus advancements, easy-access manual controls and a host of other features.

The new flagship in the Olympus PEN series exudes detailed craftsmanship, from a seamless design to an all-metal casing that houses many of the same award-winning technologies found inside Olympus’s premier Micro Four Thirds® camera, the OM-D E-M5®: 16-Megapixel TruePic VI Live MOS sensor, FAST AF, 5-Axis Image Stabilization and more.

The Olympus PEN E-P5 is the first Compact System Camera with a mechanical shutter that can achieve a speed of 1/8000th of a second to freeze fast-moving subjects like insects in flight or to create pictures with dramatic background blur, even in bright conditions. The built-in flash, with an improved, faster 1/320th of a second synch speed, makes it easier to take backlit shots during the daytime. Never miss an instant photo opportunity with features like quick start-up, new short release time lag AF mode, which reduces the time between shots to 0.044 seconds, and nine-frame-per-second sequential shooting.

A world class autofocus system, also found in the Olympus OM-D E-M5, powers the E-P5’s new Super Spot AF, accurately bringing into focus even extremely small subjects. Simply select an area on your subject where pin-point accurate AF is required and the E-P5 can auto-focus on that area – offering even more precision than phase-difference autofocus systems. New Focus Peaking dramatically improves the usability of manual focus lenses by bringing shots into focus by emphasizing the contours of the point of focus in white or black.

The camera’s in-body 5-Axis Image Stabilization mechanism, which has been further evolved since its introduction in the Olympus OM-D E-M5, is now compact enough to fit in the E-P5’s svelte body. The system corrects various kinds of camera shaking, whether shooting still photos or recording movies and the new IS-AUTO mode automatically detects the camera’s movements and provides optimal control of correction when panning regardless of direction or camera orientation. Correction-checking on the Live View screen makes it possible to check the image stabilization effects on the Live View screen that was previously difficult with in-body image stabilization systems. The user can press the shutter button halfway to check the image stabilization effects on the display and then decide upon the composition. The image remains on the display for two seconds after the shutter button is released, making it possible to stabilize the autofocus point and set framing. Multi-motion IS used in combination with the 5-Axis Image Stabilization mechanism produces excellent correction performance, especially during movie recording.

Hands-on photographers will appreciate the intuitive 2×2 Dial Control system which is in easy reach on the back and top of the camera. When shooting manually, a lever on the back can be quickly moved to one of two positions. In the first position, moving the dial at the front of the camera adjusts the aperture while the back dial affects exposure time. In the second position, the dials change the ISO value and white balance. Alternatively, you can use the lever on the back of the camera to assign a range of other functions.

The E-P5 is the first Olympus camera to include built-in Wi-Fi. Setup is simple and involves quickly scanning the QR code displayed on the camera’s LCD with your Smart device to synch it with the Wi-Fi network created by the camera. Olympus’ free smartphone app, Olympus Image Share 2.0*, synchronizes your smartphone’s and E-P5’s screens so you can effectively see the camera’s LCD on your phone and control it by touching the smartphone display as if it were your camera. This is extremely useful for self-portraits and for remotely shooting subjects like wildlife that are easily startled if you get too close. You can count down to shutter release on the phone itself, grant friends’ devices access to selected images, and even use your smartphone to embed GPS information in your shots.

Photo Story mode enables you to capture a scene from multiple viewpoints and then combine them into a single image to create unique collages inside the camera. New “Photo Story+” adds a rich variety of stamps and “Signature” for adding a handwritten or original image signature on top of the image through the Oi.Share app. Other creative features include new interval shooting that sets a time interval between 1 second to 24 hours, as well as how many shots the camera will capture in a series (1 to 99) during that time to create images that show the growth of a plant, the drifting of clouds, moving crowds or a butterfly emerging from its chrysalis. Time Lapse Movie converts the series of pictures taken using interval shooting into a movie inside the camera. The 12 available Art Filters on the E-P5 lend even more creativity to time-lapse movies as well as still images. Live Bulb mode has been improved by automatically reducing the monitor’s brightness to prevent glare and to display a histogram and the elapsed time of an exposure to more easily shoot stars, light painting and fireworks.

The Olympus PEN E-P5 is equipped with a bright and viewable 1.04 million dot high-definition tilt-type touch panel LCD that can be adjusted to face upwards at an 80-degree angle and downwards at a 50-degree angle. For photographers who prefer composing their shots using an eyepiece, the new optional high-definition VF-4 viewfinder, provides an impressive 1.48X magnification, a 2.36 million dot LCD, eye detect to turn it on at the right time, and intuitive functionality that enable real-time viewing of shooting conditions.

The Olympus PEN E-P5 is compatible with the whole Micro Four Thirds range on quality lenses, which now extends to newly introduced black versions of the M.ZUIKO® DIGITAL 17mm f1.8, 45mm f1.8 and 75mm f1.8 lenses.

U.S. Pricing and Availability

The Olympus PEN E-P5 will be available in May 2013 in the following configurations.
Estimated Street Price:

• $999.99 Body only, available in Black, Silver or White
• $1449.99 (Black or Silver body with black M.ZUIKO DIGITAL 17mm f1.8 lens and VF-4 Electronic Viewfinder lens)

To find out more about the PEN E-P5, and for a complete list of specification, visit the Olympus website.

Pre-Order Links

Found E-P5 tempting? We trust B&H more than any other reseller when buying photographic equipment. Click here to see Olympus PEN E-P5 offers.

The post Olympus E-P5 Mirrorless Camera Announced appeared first on Photography Life.

For my first Polaroid camera I wanted something old—not one of the new Fuji Instax Camera (although, I think I might have an Instax purchase in my near future too! I am hooked on instant cameras right now!).

(Fuji FP-3000B, slightly desaturated in Photoshop)

Initial Impressions + Specs

After having used this camera for a year, the Polaroid 180 is the perfect camera for me. You can set the exposure manually (selecting the aperture and shutter speed independently), which was an important factor when looking for an instant camera. And, it is decent in low light because the aperture ranges from f90 to f4.5 with 18 click stops. The shutter speeds run from 1s to 1/500 with Bulb.

I attached an OpTech strap to mine, since it did not come with one (you can see the strap in the product photos above).

I also enjoy the fact that this camera folds up and isn’t TOO large to carry around. When closed with its case, the dimensions are 2.5 inch depth x 8 inch width x 4.5 inch high. When open, the camera measures 7 inch depth x 8 inch width x 4.5 inch high.

The Film

Fuji makes 2 film stocks that fit the Polaroid 180 which can be ordered new from B&H:

- FP-3000B Professional Instant Black & White Film (10 Exposures) $9.49

- FP-100C Professional Instant Color Film ISO 100 (10 Exposure, Glossy) $8.09

This is 3¼×4¼” instant peel-apart instant film. When you peel it apart you are left with your image and the negative. The Polaroid version of this film is expired, not in production, expensive, and hard to find, which is why I think the new Fuji version is the way to go.

My favorite film to shoot the Fuji FB-3000B (the black and white version). I like it because it is great indoors or on cloudy days, and I love the classic look of black and white. I scan my images from the Polaroid 180 on a Canon MX882 Printer/Flatbed Scanner and I often desaturate the scan a little bit in Photoshop.

(My Polaroid 180 with 2 photographs taken with the Fuji FP-3000B instant film — photo taken on an iphone)

The black and white film also produces a negative that can be used as is. The negative from the color film must be bleached before you can use it (which I have never tried). The right image below was produced by scanning the negative from a Fuji FP-3000B photo and inverting in Photoshop. In order to have a usable negative, be sure to let the emulsion sit for 1.5 minutes before pulling apart.

(Shot with Fuji FP-3000B. Image on the left is the scanned Polaroid desatured in Photoshop. Image on the right is the scanned negative, which was then inverted and also desaturated in Photoshop.)

(Fuji FP-3000B, not desaturated in Photoshop—this is the true color of the printed image)

The Focusing

This camera uses a rangefinder method of focusing. That means that when you look through the viewfinder, you can see a second, smaller image of your scene. To get your shot in focus you must move the focusing lever until the two images line up. The smaller image of the scene is quite small, and sometimes it is hard for me to see if it is correctly matched up. I do get quite a few photos not completely in focus due to this.

(Fuji FP-100C … out of focus)

Battery

One of my favorite parts about this camera is that no battery is required!

The price and where to buy

These cameras are no longer sold new on any local shops or online retailers. But you can find one on sites like Ebay and Craigslist … I bought mine used off a photographer on Facebook for $230.

The post Polaroid 180 Land Camera Review appeared first on Photography Life.