Tag Archives: DSLR

Hands on review: AF-S Nikkor 24-70 mm f/2.8E ED VR

I love my holy trinity of Nikon f/2.8 zoom lenses covering a total range of 14-200 mm focal length. The mid-range zoom AF-S 24-70 mm f/2.8G ED N (short G-version) has become my workhorse and go-to lens with its most versatile zoom range; from wide-angle landscapes and panoramas, to portraits and events. Not that it is lightweight, but the built quality is excellent, the out-of-focus areas are smooth, and there are very little chromatic aberrations along the entire zoom range and at all apertures. The lens snaps into focus instantly and silently and it never hunts, even in most challenging lighting conditions.

The public library in Stuttgart, Germany. All you need to test corner to corner sharpness, lateral and longitudinal chromatic aberrations, flat field, out-of-focus rendering, and geometric distortions

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Digital versus Film: A Photoessay

Film shooter: Film slows me down; I shoot less and thus increase my keeper rate. In a world of instant gratification I love to wait for having my film developed. The look of film is more organic and natural. I concentrate on the subject, not on the histogram: just the camera, the subject, and me. The film camera of my grandfather will outlast you and me. It still takes better images than the modern, disposable DSLRs. Film does not require a laptop, extension cord, power strip, Terabyte backup drive, mouse, card reader and all that junk filling my suitcase. Shooting film, I will have the evening free for my wife/ girlfriend/ partner; no downloading, backing-up, RAW processing, and sensor cleaning. Film has better resolution and is future proof because scanners will always improve.

Digital gearhead: Even my 10 year-old, 6 MP Canikon has a better dynamic range and color accuracy than film ever had. My digital file at ISO 409600 shows less noise then Kodak Extar 400. We have long surpassed the state of sufficiency and I have made 6-foot prints from my DSLR that look gorgeous. It’s the guy behind the camera that matters, not the equipment. Street-shooting with my mirrorless I can be very stealthy. Hard drives store billions of images in far less space than binders full of film. With digital it is common for me to shoot a thousand images in an hour-long football match at no cost.

Mandalay-digital

Fig. 1: Mandalay (click to enlarge)

Now with these fanboy statements out of the way, I must admit that after 20 years of shooting large-format film I have become pretty much a digi-convert myself. Yes, the almost total lack of noise on the D800e at base ISO far surpassed that from even the finest grained film. Yes it was much easier to nail correct exposure checking the histogram. And it was easier to remove the few dust spots that might turn up on a digital file, than the lengthy spotting necessary on even the most carefully processed and handled film. But was it the right move?

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Full Frame DSLR versus Medium Format: Nikon D800E and the Mamiya/Leaf Credo

A number of comprehensive test reports have been published on the Nikon D800E.  The image quality of this camera has triggered shootouts with medium format systems such as the Leica S, Hasselblad H4D, and the Mamiya/Leaf combo.

To me, these evaluations were not really conclusive, as they focus mainly on resolution and often propose pixel peeping on a low-gamut LCD screens.  In discussion forums, these tests have consequently drawn comments that it would be illicit to “compare apples and oranges” and that there are “horses for courses”. Such comments are triggered by the real-world decision-making problems featuring multiple conflicting objectives. The best conceived test is useless if the methodology is not sound and the criteria are not clearly defined. But more importantly any such test will be highly subjective with inherent, strongly weighted objectives.

Mamiya-Nikon

Left: Mamiya 645D. Right: Nikon D800E.

Therefore, I must explain first my shooting style and preferences, workflow, and photographic background. For me, the definition of an outstanding image boils down to a simple question: wouldn’t I mind spending big bucks on printing and framing of an image, displaying it in my home, and looking at it for hours on end? For me, as a scientific engineer, technical perfection is an important aspect. Any of my keeper images qualify for a 60×80 cm (23”) fine art print, holding up 10″ viewing distance. This is what I call supernatural, because the print reveals details that at the location were not visible to the naked eye. I thus spare no effort; when I visualize an image at a remote place, which I might be able to visit only once in a lifetime, I just want to have the best equipment with me. And leaving aside the artistic aspect of photography, if something goes wrong technically, it will be my, and not the equipment’s fault.

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