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Heated Gaming Moment posted:I’ve shot a D3 for about eight years. Is a D4S a huge upgrade? There are many well below the $2000 mark and I could unload my D3 and upgrade for about $800-1000. Anyone have experience with both? I own a D3s and a D4s both. (The D3s has so many shots on it that it makes no sense to try and sell it so it's now my stunt camera.) It's not a huge upgrade; the change in resolution is not a big deal but the D4s has noticeably richer shadow information and the autofocus is clearly improved. The XQD card slot is an evolutionary dead end but it works as a backup. Minor creature comforts - exposure and ISO mode selectors are nicer on the D4s. I also own a D850 and I alternate between that and the D4s. I find the D850 has extremely accurate tone and color rendition and is good for nearly all purposes and my go-to studio camera. For night, street and event photography it tends to disappoint a little with the faded and digital appearance of artificial light sources like LED and neon colors which are outside of the gamut of its color filters. This is where the D4s shines, its colors looks as rich as oldtimey slide film and it is subjectively very attractive. The attached illustration shows response from D850 and D4s to a little street altar with intense red LED lights. The D850 renders the LED highlights as fading into pale pink and then white but essentially no richer in color at any point than the painted red surrounding box. The D4s captures accurately that the LED red light source is far more intensely saturated than the painted red box. (Sorry this is off-topic for your D3 > D4s question. The D3 also handles artificial LED and neon colors very well.)
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Jul 16, 2020 06:06
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Sagebrush posted:so I hope they do a good job with this software. Indeed. It's kind of last chance for relevancy in that respect, isn't it? Up until the end of the DV era, camcorders used to have live video over firewire which was pretty easy to get working on PCs and particularly Macs, for using camcorders as webcams. It would be good for Nikon (and other remaining camera manufacturers) to give media pros as many reasons as possible to use their gear all the time. The oldfashioned DSLRs are still mired in the paradigm of being a thing you use for one dedicated purpose and activitiy only, and then you take the memory card out for loading into your PC, and you take the battery out for charging: It is just a multi-thousand-dollar brick while it's regally perched on its shelf. I like how my Zoom H6 audio recorder doubles as an audio interface. It's my audio buddy, I use it for field audio recording. I clip it on my camera in a cold shoe quarter-inch adapter, sometimes with different mic capsules or a dead kitten wrapped around it. I use it as an audio interface on my desktop which allows me to also use it as a zoom conference mic. I want my next camera to be like that as much as possible. Something that is bristling with usefulness and makes me want to pick it up and use it for as many purposes as possible. In the field I want to be able to keep it powered off a USB-C power bank indefinitely if I'm doing long exposure shots or if I'm on a field trip. I don't want to have to bring an AC charger brick. The wifi or bluetooth tether should actually work so I can do full live view and remote control and color grading and media sharing from my phone, and it should importantly just work without fiddly recurring connection problems. On my desktop I want to connect to it off USB-C and use it as a low-latency live webcam with good face tracking, powered through that connection, with no time limit.
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Jul 23, 2020 08:30
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Yeast posted:and sold a Z7, What was the deal breaker for you? I thought it was kind of sorta like a Z version of the D850. I have a bunch of F-mount glass. If I could afford a D6 I'd get one. I figure I'll get one second-hand in 3-4 years. DSLRs probably don't have much of a future and at some point I guess I should give in and get a modern and forward-looking Z body and figure out how to do glass migration, but I'd be very unhappy to let go of OVF. Besides, many of my favorite lenses are vintage AF types with screw drive and the F to Z adapter thing doesn't seem to support those. On the other hand, the mirrorless bodies and the EVF enables practical video. I have a cumbersome loupe I sometimes put on the LCD of my 850 to do video with it but it is far too much work to attach the contraption for most anything except pre-planned shots. I'm bummed that Nikon never did anything with their hybrid viewfinder patent because it seems like that could have been the best of both worlds - true OVF and then when you want to record video you push a button and the mirror flips up and you're looking through an EVF OLED instead. That could have been the "perfect camera" from the Camera Conspiracies' intro song.
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Jul 27, 2020 13:33
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Yeast posted:There were a couple things: Awesome and insightful perspectives, thank you!
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Jul 28, 2020 10:38
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Yeast posted:That's a freaking quality example. Re. this. I happened to have both bodies with me today and made one more comparative example using this intensely red Jetta sitting in the sun. The imager on the D850 I suspect is fitted with relatively pale or permissive filters producing a color gamut essentially no wider than sRGB. The red channel is particularly weak. For many uses this is perhaps not important or even a desirable characteristic: You still have very respectable tonality and dynamic range, and working for screen targets you have a simpler workflow where there's rarely or ever saturation clipping happening while you're loading the raw image into your editing colorspace. From there you can choose to selectively increase saturation in the parts of the image that you know or deem to be too pale. But your D850 will not be able to tell the difference between a red coat of paint and anything more saturated than that. But for "ordinary" and natural colors within sRGB the D850 performs remarkably well in terms of color accuracy. The attraction of the D4s for me is that it produces a more "truthful" wide-gamut image where all the source color information you could reasonably want is there for print or screen uses. You as a creative user of these raw images have to choose how you handle the wide-gamut information. You can for example apply selective de-saturation to only the richest parts of the image. In the attached example I just let the saturation clip and left the processing flat so the hood / bonnet of the Jetta is basically 100% saturated 0º red in the sRGB version of the image while in the source RAW image the color is nowhere close to saturated. Subjectively however IMO this flat processing looks naturalistic and directly usable to me in most cases. Ultra-nerdy side note : I have purchased as a folly a big old piece of lab equipment - a late 1980s Japanese monochromator with a xenon light source and a stepper motor mechanism for the wavelength selector. Also a photo multiplier tube detector accessory plus some reference noble gas light sources to dial in the spectrum and get the PMT calibrated. After I'm done with that and finish hooking it up to a raspberry pi or something I hope I can use it to characterize the color filters and imagers in my cameras. Like, shoot 100 raw photos of a grey target each only illuminated with a different spectral wavelength, then pull out and plot the raw channels, normalized against the xenon light source (which is mostly flat across visible spectrum except a small bump around 450nm).
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Aug 21, 2020 08:22
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powderific posted:I’m curious about whether the above could be an artifact of the RAW profile? The D4S image just looks more saturated overall to me, in the window reflections and the grass, etc. Seems like the D850’s raw profile could be set up for less saturation and I’d be interested to see if just bumping that slider up a little bit gets you into the same world. Increasing saturation in processing raw images from the 850 definitely makes them appear more similar to a flat processed D4s image of the same scene. (But they're subtly different in really rich colors.) Here's a scene with a good spread of hues and saturation levels. The D4s version on top and D850 thing on bottom. If you take the 850 section and just bump the saturation you get very close indeed.  But why is it so? I'm very open to the idea that my understanding of the handling of raw color processing is somehow flawed. I'm perhaps naively trusting the raw loader with a camera specific input profile and flat / neutral processing selected, to produce an accurate transformation of sensor channel color values into the selected working or output colorspace. In any case I can't by just bumping up the saturation get things like LED and neon signage and stage lights to look anywhere near as good and true on the 850 as they do with the D4s.
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Aug 23, 2020 22:05
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Heated Gaming Moment posted:Does high speed flash sync work with the goofy pop up on camera flash to speed light flash communication thingy? It worked fine on the D800. But if you have a chance, give the Godox / Flashpoint stuff a try. I've completely converted my studio and field lights to this system. It is RF based and includes some cool and powerful strobes that are both cheap and works well with Nikon TTL (and also Canon and Sony.)
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Oct 30, 2020 16:48
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Mega Comrade posted:Hopefully it's good, Nikon need a big success to catch up to Sony and Canon. Mildly hopeful. The second generation Z6 and Z7s turned out well in terms of IBIS and AF tech, but I don't like the ergonomics on any of the current Z bodies. Hoping that the Z9 will feel at least as good in handling as the D850, and will have lighted buttons. I alternate between D4S and Z6 II as daily shooters. The Z6 is great for low noise night photos and videos. D4 is an antique and its video is rubbish but I like its colors and it's more enjoyable to use than the Z6. Also it is compatible with my old screw drive lenses. I hope the rumored FTZ2 is launching with the Z9, then I can retire a lot of kit.
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Oct 14, 2021 21:23
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powderific posted:I have no experience with it, but since you already have it you may as well try it? I don’t think I’d recommend anyone run it and pick one up off eBay but no reason not to mess around with it. I have owned (and sold) a P1000 which is a slightly more expensive version but built on the same idea. The L830 is an okay full-auto camera for non-technical everyday photography. It's designed for and sold as ideal for kids soccer game. eBay goods. Family stuff. The zoom lens is pretty versatile and at its widest goes to the full-frame equivalent of ~22mm which is not super wide but on the wide zoom setting it's letting in a lot of light (f/3). Zoomed all the way in to the equivalent of ~730mm it's down to f/5.9 which combined with the low sensitivity small-sensor means you probably won't be using that except on bright sunny days. The limitations of the small sensor is mainly evident on pixel peeping. All cameras in that peer group have known problems with low sensitivity and sensor noise. The camera software compensates for that by filtering the raw image to reduce visible speckling. This results in a somewhat soft looking image in dark / limited-light scenes, but the camera does have a built-in flash. It only saves JPEGs and doesn't save raw images which limits creative post processing work a bit. But like all cameras it can be used for whatever you want it to. In principle. What do you want a camera for? Do you like the aesthetics of fine photography? Are you documenting activities, hobbies? The one thing I consider the most limiting with these types of fully-automatic cameras is that unlike basic mirrorless and DSLR cameras there are no technical exposure modes where you can prioritize shutter speed over aperture or whatever. There's only programmed automatic exposure and a variety of "scene" modes which you'll have to guess at how they work. There's for example a "museum" mode and a "food" mode. What might be the difference between those two? The "fireworks" mode is probably dialing for long exposure, minus a few EV steps and bias for low ISO and but who really knows. Whatever you learn by using and relying on those scene modes won't intuitively translate into something that works similarly on a DSLR.
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Oct 18, 2021 08:41
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Pablo Bluth posted:Taking photos on a camera that doesn't make a sound can be disorienting. "Wait, did that take a picture? I better take another" followed by finding you actually took twenty near-identical photos... In single frame mode the screen or EVF momentarily flashes black to signify that the picture was taken.
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Oct 29, 2021 19:47
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Fabulousity posted:will the in-body VR make up for the broken VR Probably not. The amount of "leverage" on the picture from the moving elements inside the lens, is usually far greater than the IBIS action on the imaging plane. That is not to say IBIS isn't worth it, because it does absolutely add usable sharpness to the picture. My favourite lens for candid street photography is the 105mm f/1.4 Sigma which has no built-in VR. With IBIS on my Z6II I can get tack sharp shots from it at 1/30s or even 1/20s. With IBIS disabled I'd have to shoot at 1/100s for a comparable image. However, IBIS did very little for me with long tele shots. I tried attaching an old mechanical Nikkor 300mm f/4 AF lens that I used for budget birding back in the 90s. No VR in that (and also no focus servo!). With IBIS on or off, no discernible difference in terms of stabilization on my Z6. There is no substitute for the built-in VR function in the 200-500. You should try to get it repaired.
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Feb 13, 2022 01:07
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My Z9 preorder came in early and I'll be collecting it tomorrow. Can't wait! I'm going on a bat survey expedition to Borneo in April and I was afraid it wouldn't arrive in time.
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Mar 17, 2022 14:09
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First day of shooting with this beast was a blast. I picked up the camera at the Nikon hub at Funan, a "tech lifestyle" mall, I'm told. I had arranged to have some lenses and a fully charged EN-EL18 battery with me, borrowed from a fellow Nikon shooter. That way I could walk home through the city with the camera and not miss a minute getting to start experimenting with it. The Nikon people included this fine canvas bag for the camera box. Only after I got home did it register why I got some funny looks on the way. (aside from what you usually get with street photography.)
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Mar 19, 2022 11:47
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Fabulousity posted:FTZ2 adapter. I'm still puzzled why they made this. I had the original FTZ that I bought with my Z6 II. It fits perfectly on the Z9, doesn't interfere with the vertical grip. The FTZ2 should have had the motor drive for old AF lenses. 
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Mar 20, 2022 05:38
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Fabulousity posted:Repair quote for that Nikon 200-500 5.6E came in: $550. Sound fair for busted VR? TBH I think it's worth doing. Still a lot cheaper than buying a new lens, and the 200-500 5.6 has really excellent glass with high contrast.
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Apr 22, 2022 23:25
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frumpykvetchbot posted:TBH I think it's worth doing. Still a lot cheaper than buying a new lens, and the 200-500 5.6 has really excellent glass with high contrast. viz: Photo taken with the 200-500 f/5.6 lens, at 200mm zoom position. 1/2000s. f/5.6. 900m distance to subject. 1:1 pixel crop (~1/8 width of source image.) Do get it fixed, it's a fine lens sharp and un-distorted at wide-open aperture for entire zoom range.
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May 3, 2022 17:59
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Mega Comrade posted:Curious how it will effect the 2nd hand market. Curious whether Nikon can and do cannibalize glass from F lenses for building Z lenses.
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May 12, 2022 15:38
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Z9 is selling well, everybody wants them. It's an incredible do-everything camera. Video people in particular got interested with the 2.0 firmware that unlocked amazing raw video capability making this a credible cinema workhorse. However, Red.com is now patent trolling Nikon and claims infrigement in the video compression technology that Nikon is licensing from a third party. The third party is not named in the suit. https://petapixel.com/2022/05/26/red-sues-nikon-for-infringing-on-its-video-compression-patents/ The description of the patent sounds like simple algorithmic stuff that you wouldn't think were really patentable. As I understand it, it has to do with re-ordering RGB bayer matrix subpixel channel data in the compressed output stream, storing the lower resolution red and blue pixel data as a proportional derivative of the green 2x resolution channel. Whatever it really is, it is a simple and highly parallelized process that can run efficiently on multi-core designs both in decoding and encoding, and which supposedly is the secret to why Z9 can record raw 8K60 video to card internally without overheating, and why it's relatively easy to edit on a workstation with a fat GPU. For now no injunction has been granted, and the 2.0 firmware is still available for download, and new cameras can load it no problem. But I sure hope Nikon won't have to peel out these video features. I guess the second best outcome (after case dismissal) would be Nikon and Red agreeing to some kind of license scheme so new cameras sold after a certain date wouldn't have these features enabled unless user pays for them through installation of a license file or something, similar to the Z6II / Z7II HDMI raw output modes that were also subject to special license terms.
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May 27, 2022 18:48
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Fabulousity posted:RIP F Mount and photographic arts: Press Z to F art SMERSH Mouth posted:Shame if it couldn’t be brought back to like newish condition. Dunno about North America, but I had a Nikon D4S serviced in Singapore just a few months ago. That's about as old as the D810. (The AF focus servo had died & the lovely oddities in my old screw drive glass collection is why I keep it around.) My impression is that they will continue to service all high-end DSLRs while parts last. Clayton Bigsby posted:Well, lookie what showed up today. Took a god drat long time to source one here in commieland. Congratulations. It's one hell of a camera. Tell us about the lens. Why that one?
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Aug 15, 2022 22:54
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Yeast posted:Hey fellow Z9 shooter. Do me a favour and tell me if your batteries start squawking about needing to be calibrated all the loving time. Happened to me once right after I stupidly dropped the battery on a stone floor. I suspect the BMIC in the battery pack momentarily got disconnected and reset somehow. Had to re-calibrate and that took hours. Since that, no problems. That was 2 months back.
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Aug 16, 2022 23:40
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Shaocaholica posted:Just lol that D1(X) and D2H on a 4k display there’s no 100% zoom in LR/PS. You’re looking at the whole photo and pixel peeping at the same time man. I have about 50-100 keepers from my D1 period with just pitiful small 2K resolution and I wish there was an AI upscaler that could use detail from other photos taken in the same shoot and produce something that didn't look like melty crap when upsized by 2x. To my eternal regret, for the first year I owned the camera I hadn't figured out a raw workflow and the D1 had infamously lovely looking JPEG colors. Whatever few articles remain online about the subject suggests that the D1 JPEGs were encoded with NTSC color space instead of sRGB. But I don't think that is actually true. At least just assigning that color space to the images don't fix them to look right. I have a really shoddy LUT that kind of sort of creates human looking skin colors. The D1 NEFs are generally great looking though, considering their age.
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Aug 27, 2022 22:09
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Shaocaholica posted:There are tools to convert from NTSC to something else but effort. I also read they have weak IR cut filters so you get IR contamination which makes certain tones more magenta and to fix it you just put an IR cut filter on the lens. plausible but this doesn't fit my experience. I never had the magenta skintones manifest on the raw photos I did take with the D1. I guess I should just buy a D1 to experiment with and see if I can create a color fixer LUT. They sell for sometimes a little as fifty bucks if you can find them. Usually with dead or missing batteries. I love the poo poo out of my Z9. I've had it since February and I never want to not just shoot with it. I always have it with me. The Leica-mount TTartisan 50mm f/0.95 is a lot of fun.
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Dec 9, 2022 16:50
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toggle posted:Question for Z9 folks... Did you figure this out yet? I have the Ninja V as outboard monitor for video and it works fine for me. Record to card internally at 4K N-Log H265 10-bit, in 50 or 100fps depending. I set the HDMI output to 1080p, output range "Auto", output shooting info "Off". Works fine. The Ninja blanks out if I set HDMI output resolution to 4K (2160p). I had a Z6 II with Prores RAW via HDMI enabled. (Sold it after I got the Z9) I could record 4K ProRes Raw 422 on the Ninja with that setup. But my understanding, which may be incorrect, is that the Ninja only can ingest plain 444 HDMI in 1080p, possibly 2160p30.
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Feb 9, 2023 23:12
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Shaocaholica posted:
That's a wild collection. Do you have any D1s that work? I have been re-mastering my old photos and I was dumb enough back in the late 90s / early 2000s to shoot a lot of D1 photos in JPEG format. After all these years I still haven't quite figured out what exactly kind of screwed up colorspace those were encoded in. Sure wasn't sRGB, AdobeRGB or NTSC as some by now obscure online sources have suggested. Anyway, so I wanted to try and solve this problem so I bought a banged up old D1 on eBay that I figured I could make work well enough to shoot a couple of test color charts under controlled lighting. No such luck, the CCD is hosed. Could I trouble you to maybe take a single D1 JPEG of a flash illuminated color checker cart, with speedlite color temperature set?
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Mar 20, 2023 07:23
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Shaocaholica posted:Yeah I've got like 16 D1s, D1H, D1X. All in various states of disrepair but some mint copies as well. The batteries are the worst tho. Amazing. I respect the dedication, and I get completism but why so many copies of any one type? quote:I don't really do flash photography but I do have some Youngnuo flashes I could use. What should the WB on the camera be set to for the jpeg? If you do use the Youngnuo, please dial WB to "Flash" -- the icon with the thunderbolt. Thanks for helping me out. quote:The wikipedia page for the D1 says the colorspace is NTSC. Yeah, several sources say that but that doesn't really seem to be actually the case. Just assigning NTSC 1953 color profile – any scale variant of it, or Rec. 601, or anything like that – just produces even worse looking colors. I have a feeling it's a wide gamut type thing, colors are generally muted. The D1 JPEGs are tagged with no particular colorspace but if you assign AdobeRGB to them the saturation looks mostly right but the hues are a little off.
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Mar 20, 2023 22:14
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powderific posted:I don't know if I'm just not sensitive to EVFs or something, but I went from a D850 (and D750/D800 before that) to a Z6 and found the EVF preferable Same. the Z6 was good enough, but the Z9's very bright and detailed 120fps EVF was even better to the point that in a year of shooting with it have never once encountered a situation where I missed having the OVF. Last month I sent my Z9 to the local Nikon service center for cleaning and had to use my previously so beloved D850 again for a week. The OVF felt so dark and I guess I've come to rely on focus peaking. Hated having to do manual focusing without. I do a lot of macro photography for documentation of my electronics work. My main lens for that is a lovely but manually focused z-mount Laowa 100mm. While the Z9 was away I had to go back to an old nikon AF 105mm macro with extender rings. When the Z9 came back I traded the 850 for a Phaseone P45+ digital back for my old Hasselblad.
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Mar 25, 2023 07:45
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The Z6 II is an excellent and very rounded camera with AF, resolution and framerate adequate for pretty much everything other than the types of extremes that would justify a D6 or Z9 anyway. The high-ISO noise is very manageable and arguably less pronounced than on the Z9. Records 4K 60 internally. I like that it has an optional firmware update that unlocks proRes RAW via HDMI output that you can record on a Ninja V. I think my only complaint with the Z6 was that it felt a bit angular in my hand and it didn't have illuminated buttons, and the card door popped open too easily. Ambivalent on Canon's climate issues. It's just anther corporate behemoth conglomerate with a market cap one and a half times that of Apple. Irrespective of how the camera division is connected to the rest of the enterprise, I generally don't think it is possible on any level to ethically / sustainably / ecologically partake in the proliferation and use of high tech electronics which can only exist on top of our all-devouring, absolutely fundamentally unethical and unsustainable industrial civilization. The corporations exist intertwined in a system that extends to include governments, institutional shareholders and ultimately all of us and the terrible decisions we make collectively. You buy any one electronic device from Apple or Canon or Nikon or Samsung or Nvidia or whatever and you are feeding the demand drivers that cause carbon emissions, energy consumption, pollution, open pit mining (with for hire or slave labor) and other forms of mineral extraction operations destroying people, animals, forests and ecosystems. Short of radical systemic changes to our market based economy driven by the whims of clever and greedy monkeys bereft of wisdom, the fig leaves of promised carbon emissions reductions by such and such percentage by such and such year represent nothing more than greenwashed farts in the wind. Unless you're prepared to process all that in your buying decisions, I'd perhaps suggest that within the narrow niche of high tech electronic photography, let your equipment selection decisions be driven by what you want it to do, and how long you want it to last. The last qualifier I think is the least flimsy fig leaf it's possible to wear these days as a would-be ethical electronics consumer : don't buy crap you know will disappoint and get discarded quickly. If you buy something good enough, it will last and satisfy longer and have resale value and so your pressure on the devastation & resource extraction demand side will ultimately be less. ((( PS: in general, not specific to cameras, also consider repairability as a factor in ethical electronics buying decisions. Support R2R legislation. ))) frumpykvetchbot fucked around with this message at 09:48 on Apr 9, 2023 |
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Apr 9, 2023 08:25
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therattle posted:What swung it for me with Nikon was the familiar and intuitive user interface. yeah, same here. I have been a Nikon shooter for 30 years but I was "Canon-curious" from time to time. The Sonys were fun I hated their nerdy menus and I felt the camera UI was getting in my way all the time. I never learned to like the ergonomics of the thumb wheel on the back on the Canon bodies. The topside dials and mode selector operation on the Nikon pro bodies have been unchanged since the mid early 90s and it just works better for me.
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Apr 9, 2023 08:47
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Brrrmph posted:The parts shortage is wild, but it feels like it is impacting Fuji and Nikon more than Sony and Canon. Is that just a result of bigger companies having more purchasing power? Sony and Canon both have their own substantial lines of semiconductor products which probably gives them certain advantages and workarounds. Nikon and Fuji less so, if at all. Although Fuji makes chemicals used in semiconductor manufacturing. Interesting to consider just how brittle these supply lines are. Let's just hope China doesn't invade Taiwan anytime soon...
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Apr 10, 2023 16:41
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VoodooXT posted:The F100 is basically an F5 without the integrated grip. The F100 is also basically a D1 without the CCD.
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Apr 18, 2023 06:49
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The F100 had another wildly nerdy feature; it remembered the exposure settings from the last few rolls you shot. Kind of like EXIF data, same idea. Date, time, EV, exposure mode, exposure data, focus mode, etc. You could download the data over the 10-pin with a serial cable to your PC, and there was an ultra-specific and very temperamental Nikon software for that. I used Kodak's photoCD service for scanning my negatives, an expensive but pretty high-quality proposition back then. The CD-roms were gold-colored and multi-session and could fit 100 pictures at 6 megapixel resolution in PCD format which was pretty good at the time even though the actual negative scan quality varied over the years. You could send in partially full discs with your negatives and Kodak would fill them to the brim before starting new discs, and you saved a little that way. At the end of my film period I think I had about 160 photoCDs. I've since turned them all into DNGs. I got a D1 not long after the F100, but it was only 2 megapixels and APS-C so I kept shooting film for a while. Eventually photoCD was discontinued or turned into some garbage JPEG successor format so switched to using my own Minolta film scanner at that point. I kept my F100 up until I finally sold every camera, scanner and film related accessory I had to finance a D3. Anyway, back in 1999 I created a crude perl script with imagemagick that could make printable contact sheets with the exposure data from the F100 showing next to the thumbnails. I then kept those sheets with my cut negative strips in binders. Somehow life was slower in the late 90s and early 2000s, you could take the time to do things like that. I've never found time since to attach my old F100 exposure data to the converted PhotoCD DNGs. Not really that interesting I guess.
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Apr 18, 2023 21:31
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The Z9 is absurdly good and I always have it with me. Found a nice everyday carry thinkTank "UrbanDisguise" laptop bag that can fit the Z9 with some lenses. It's perfectly adequate for my mostly docu stills and B-roll video needs and very likely the last proper camera I buy unless I break it or it gets stolen. I'd consider the Z8 in that case just because I use the Z9 portrait grip rarely. Or if the Z10 comes out and has like 100 megapixels, I'd get that instead.
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Apr 29, 2023 18:15
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therattle posted:What resolution is enough? Why wound you ever need 100mp? I case you want to zoom 100 mpx (or hell even 46mpx) is very rarely needed for the final product, but it gives you creative headroom for perspective correction and substantial cropping where you still have not compromised on details in a 4K export afterwards.
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Apr 30, 2023 02:29
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https://www.youtube.com/watch?v=tg8ntVfyGcg stupidly beautiful Z8 review by Links * every bit as good as Z9 * if you had to find anything to complain about the camera maybe starts to overheat shooting 8K60 raw after like half an hour? * where are my Z9 HEIFers Nikon
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Jun 1, 2023 04:30
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I'm getting a full spectrum infrared conversion done to my D4S by LifePixel. Thinking about the 590nm filter. Talk me out of it.
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Jun 16, 2023 09:42
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spookygonk posted:Great fun. you suck at intervention. order placed. BTW. OG 1999 coolpix 950 or the P950 modern one?
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Jun 17, 2023 21:32
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Seems fine and fast to me. I use F-mount lenses for handheld video through a FTZ II. I sold my D850 but have a D4 still. Its AF is far less on point than the Z9 with the same lenses. Still want a screw drive version of the FTZ. >:-(
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Nov 29, 2023 09:52
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A few months ago I supplemented my Z9 with an X100V. I love them both for different reasons. I think of the Z9 as a realiable workhorse and photographic tool mostly. I use it for birding, I use it for landscape and city scenes, and I use it in my engineering workshop and studio for documentation work, really for everything. I have a bunch of lenses for it, including lots of ancient F glass and some cheap but astonishingly good Laowa and Mitacon / Zhongyi macro Z lenses that are manually focused but work really well on the Z9 because of the on-screen and in-viewfinder focus peaking display. That feature alone is what ultimately made me retire my D850 that had otherwise been my documentation camera. I love the accurate color it produces, and the controls are so ergonomic, I never have to think about how to achieve anything I want to do with this camera. I've built accessories for the ancient 10-pin connector and I have a ton of Godox lighting gear that it talks to effortlessly. The Z9 is rock solid. I have 200K clicks on it now, and almost none of that was "spray and pray" or long bursts. But it doesn't have whimsy. It's all business. It doesn't dream or play. That's where the Fuji comes in, for me. The OVF/EVF hybrid viewfinder. The sweet f/2 lens. But most importantly, a different workflow. A new way to think about exposure and creative priorities. And those film looks! I never leave home without either the Z9 or the Fuji or both. I find that I often discover a scene and find its hidden beauty with the Fuji. I often get drop-dead perfect JPEGs out of it with sublime colors. But they're just JPEGs. Sometimes I revisit the same scene later with the Z9 and use different optics but inspiration I got from the Fuji session, and my post-processing work is influenced by those looks the Fuji helped me discover. YMMV I guess - Nikon should add more whimsy, maybe license Kodak's film looks.
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Dec 20, 2023 07:27
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EL BROMANCE posted:Basically, you know how your camera body has a setting to fine tune the lens so it matches… usually on a +/- scale and you just take photos and test which one works best. Well the USB puck takes it one step further and lets you fine tune the focus across something like 16 values to really lock it in. I remember it only costs about $20 or so, so it’s not expensive and might make some differences. This whole issue I think goes away when you go mirrorless. I have only a few of those Sigma f-mount ART lenses, the 24mm f/1.4 and also the 105mm f/1.4 (a huge chonker with a preposterous 105mm filter thread). I had a hell of a time getting those primes dialed in for my D4 and D850 using that USB puck. The 24mm one I had to dial to one extreme end position to make it focus nearly right. I suspected it was busted somehow (I bought it secondhand) but once I put it on the Z6II and later the Z9 (with a FTZ) it was tack sharp and perfectly focused always.
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Jan 28, 2024 16:34
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| # ¿ May 3, 2024 05:20 |
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Proust Malone posted:Kids mostly. Most demanding setting is kids’ theater with not great lighting. Find a deal on a used but good 70-200 f/2.8 with VR/OS. It's a perfect lens for this use. Brand new nikkor version is $$$$ but I sometimes find the Sigma f-mount 70-200mm F2.8 DG HSM OS on eBay for like 600 from reputable sellers. The "Sports" edition is nice but hefty.
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Jan 29, 2024 04:46
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