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Dorian Gray
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2012-02-23, 18:13

Quote:
Originally Posted by Matsu View Post
Pocket Wizard's hypersync function looks like it could be quite a boon for high speed flash. For those who may not have heard of it, it advances the flash timing a little - user programmable - so that the scene is already lit just ahead of the first curtain. This lets you double the sync speed without the strobing or power loss associated with FP Sync modes. Pretty smart.
It is clever, but it's also a bit Heath Robinson for my tastes. I agree the simple transparency of the RadioPopper has its charm.

I use the Cactus V5, simply because I could get four of them for 80 euros (used), which is less than the price of one PocketWizard Plus II transceiver. The Cactus V5 isn't 100% reliable, but it's good enough for what I do. However, it doesn't do a clean sync on my D700 at 1/250th second. At 1/200th, it's fine. The D300S syncs cleanly at 1/250th.

I guess you know about the new PocketWizard Plus III?
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Matsu
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2012-02-24, 05:38

I'm not sure they really add anything over the 2 series. Obviously these are the industrial use options - what you're most likely to set-up if you were shooting a big sports/media event around dozens of other photographers - useful for all the other triggering options. No TTL though, no high speed sync, but then again, no different than any other radio trigger, except for the radio poppers - which are different by design.

Another thing I like about the radio poppers is the ability to easily gang two flashes to one receiver.

There's a Phottix Odin for Canon, which seems to be basically a radio version of an SU800. Nice easy - single press high speed sync on that one. No Nikon Version yet.

Pocketwizard's AC3 seems like a very nice simple ratio controller - is this a better option than an SU800? I'm not sure. Looks simpler to dial in. Kinda stupid that you have to stack it onto a flex/mini - an integrated unit would be simpler.

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PB PM
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2012-02-24, 05:54

The big advantage of the PW3 is lower price, and the ability to extend the range/use as a repeater.

PW is totally different than the SU-800. The SU-800 still uses an IR signal, like the SB-800,700, 900 or 910. Personally I like Nikon CLS because I can change all the settings in camera without mucking around with radio triggers. The downside is shorter range and a greater chance of having interference. Sunlight, for example can mess up your IR signal, making CLS hard to use. CLS also requires direct line of sight, something radio triggers do not.
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Matsu
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2012-02-24, 06:54

I should have been a little clearer. The AC3 needs to be stacked on top of a mini/flex unit to work - it doesn't appear to have a radio, it's just a ratio controller with three groups. In that sense it's exactly like a SU800. It's advantage is that it has a simple three dial, three switch interface for controlling your groups. You could also put an SU800 or SB900/910/700/800 on the flex/mini which would squelch the control pre flashes on use radio to your receivers instead.

The TT ad PX systems are unique in that they preserve all CLS/iTTL functions. Now there's also Odin, but so far that's for Canon only.

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PB PM
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2012-02-24, 10:00

It was my understanding that the PW3P was a transmitter, but I did't look too closely.

As for the SU-800 itself, it kills some of the pre-flashes, but unless you are running all your flashes on manual there have to be some. The flashes need to meter to set the levels, to do that the need to pre-flash.
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Matsu
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2012-02-24, 13:39

Yeah, I checked, the AC3 doesn't even have it's own power, it draws directly from the Flex TT5 or Mini TT1, which is probably what makes it cheaper - it's only 90-100 bucks in most places. If you need a Nikon zone controller, maybe one of the newer SB flash heads is a better choice than the SU800. The SB900-910 even give you one extra group - the main flash itself.

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PB PM
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2012-02-24, 15:14

The advantage of the SU-800 is that it does not emit any visible light, whether as using the built in flash or an SB unit, it will. If I was going to do a multi-flash setup I would mostly likely get the SU-800 to get ride of the direct light coming from the camera, which is the whole point of using off camera flash in the first place.
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Matsu
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2012-02-24, 16:00

Yes the SU800 only emits IR, which is perfect if you're staying completely within Nikon's system and/or using Radio Poppers. For Pocket Wizards though, I think that either another flash or an AC3 makes more sense.

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Matsu
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2012-02-24, 16:13

Yes the SU800 only emits IR, which is perfect if you're staying completely within Nikon's system and/or using Radio Poppers. For Pocket Wizards though, I think that either another flash or an AC3 makes more sense.

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PB PM
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2012-02-24, 17:32

Rumor has it that Nikon USA is going to slash D700 MSPR by $500 (down to $2100). If Nikon Canada follows that would be amazing, as it would have an MSRP of $1999! I think Nikon intends to keep the D700 as an entry level FX body (outside of Japan), because production is rumored to continue until the end of this year. Not an unprecedented move for Nikon, apparently the D90 is still in production. Nikon could move production to Thailand, to free up production for the D800/D4.
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Matsu
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2012-02-25, 06:16

I saw that. Very cool, likely needed to help clear out D700 parts inventory. Though I think there's a case for a full frame model in that price bracket, and the D700 is as good for it as any modern camera they could cook up. It's a top notch body and the sensor still holds up well.

Back when the MSRP had fallen to 2299-2399, there was a brief period before the natural disasters where you could get a D700 for just under 2100. It's obvious that dealers were looking to keep their own inventories low in anticipation of new models - which got delayed, and prices shot back up. It will be interesting to see what the dealer cost is now. Could be that the street price hits sub 1900, or even 1800, for a brand new camera, where it should continue to sell very well in spite of the model's age. I hope Nikon pays close attention, and either tweaks the D700 and keeps it in the line-up (say a D700s, which adds a D3s sensor and -2ev AF ), or builds something new down to that price (like a digital F2 )

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PB PM
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2012-02-25, 09:57

It would be interesting if Nikon made a slight refresh. Keep the price around $2100, put the D3s sensor in and switch it to the EN-EL15 battery so they could sell it in Japan.
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Matsu
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2012-02-26, 06:58

I think it's going to get interesting. Thom Hogan's last couple of entries talk about an entry level FX camera, there's a bit of information, and a bit of speculation. Info: D700 won't have a MAP (minimum advertised price). If so, then we will most certainly see some low sale prices and aggressive camera+lens bundles. I think he's got the sales strategy more or less figured out. It's a progression from casual user to enthusiast, from semi pro, to pro.

Coolpix -> CX -> DX -> FX

If you're buying any one of these, they want to try and upgrade you to the next. Where you jump in and where you stop depends on both your affinity for photography/cameras and the relative cost of the "upgrade". So from that perspective an entry level FX might make more sense than a Pro DX.

The D700 presents an opportunity to test the market for a year or so. If they have a sales hit with it, I would expect a new model to permanently take it's place by early next year.

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Matsu
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2012-02-27, 12:46

Photozone just posted their 85G f/1.8 review here I think my eye is getting pretty good for this sort of critical microanalysis. Their more objective measure corresponds to my own earlier observations. I merely commented on how it beat my old 1.8D, but suspected it would come real close to the 1.4G, and it really does: the 1.8G looks to edge out the 1.4G from 1.8-2.8. The 1.4G is more saturated, and I'm not sure if the larger lens is coated or not, but it must keep more contrast stopping down, where it pulls ahead. Often the inverse is true, with wider aperture lenses losing their advantage stopping down. Both of them just murder the 1.4D on edge sharpness - but again, this fault seems to be part of the 1.4D's "character".

1.8G, I'm ordering one.

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Matsu
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2012-02-29, 17:58

check out this link:

http://www.fotosidan.se/forum/showpo...postcount=1457

Someone on DPR posted this link. The crops are one to one pixel level crops. The performance is quite impressive. Detail remains at a high level even on high ISO.

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PB PM
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2012-02-29, 22:56

Which camera are we talking about? The camera is not mentioned in the link or your post.
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Matsu
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2012-03-01, 03:02

Ooops, brain fart. They're reported to be D800 samples. They're really very impressive, even relative to the D4 standard test images up on Imaging Resource right now. I did a quick resize of the crop samples to see what they'd look like as part of an 18x12 image and they're very clean right up to ISO 25600. Then I sized them as they'd appear as part of a 30x20, and you can see grain, but it's very fine, like a sandy patina it washes the colour a little, but the impression of detail is still very good.

Someone else even took the same images and ran them through NX and game them a proper white balance, and they look stunning. see below:

http://dptnt.com/2012/02/nikon-d800-high-iso-samples/

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PB PM
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2012-03-01, 04:28

The samples do look impressive considering the resolution. Downsizing the images, along with some light noise reduction, should yield decent high ISO performance. As things look from the link in the last post, it could easily match the D700, right up to ISO 12800. At that setting it looks similar, but has almost no coma noise, which the D700 suffers from greatly over ISO6400.

Of course those samples were taken in good light, often where noise shows up the most is in darker scenes.
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Dorian Gray
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2012-03-01, 10:47

Quote:
Originally Posted by PB PM View Post
As things look from the link in the last post, it could easily match the D700, right up to ISO 12800. At that setting it looks similar, but has almost no coma noise, which the D700 suffers from greatly over ISO6400.
It's hard to tell much from those JPEGs, but we know from other tests that the D800 will definitely beat the D700 in terms of signal to noise, at every ISO and in every area of the image from highlights to deep shadow. The only unknown is colour accuracy in good light, where the D700 does very well thanks to its relatively strict colour filters. But photographers often don't care about that, or even prefer poorer accuracy in order to render pleasing skin-tones under tungsten light (like the 5D Mark II and D3S).

It's pretty clear the D800 will set the image-quality standard for the foreseeable future, and I wouldn't be surprised if it's unbeaten for three years or even more. Only at very high ISOs will cameras like the D3S, D4, EOS-1D X, and 5D Mark III (likely) beat it.

When you combine this with the high pixel-count and reasonable asking price, at least by luxury camera standards in 2012, the D800 looks ideal for amateurs with a fat wallet. And the low frame-rate ensures some professional photographers will still have to splurge on a D4, which suits Nikon nicely.

Marianne Oelund, a gratingly smart engineer with a bad attitude and good data, has the full performance details here.
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Mac+
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2012-03-01, 13:11

Apologies for this non-Nikon interjection...

5D Mark III due March 2

Specs here: http://www.canonrumors.com/2012/03/5...ull-spec-list/

Is this the year I finally make the jump to a digital SLR?
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Matsu
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2012-03-01, 13:49

Bring on the Canon gearz, don't be shy, it's all interesting. The Canon line-up looks equally promising, I have to say, I think it is the year to jump into SLR, either with good quality used stuff from the previous gen, or with the new stuff, it's only between you and your wallet, the quality is there. That D5mk3 seems interesting as it treads much closer to the 1Dx. 22MP vs 18MP isn't a significant difference, but it's still a difference. Maybe it has something to do with convenient video related pixel binning strategies. And, it goes to ISO 51200 and 102400 (through hi/push modes). I think these modes can be a bit extreme, if there's so little light - getting a good visual seems difficult, but getting higher shutter speeds is always a good thing. I

Can you really go wrong with any of the 5d, 5d2, 5d3, D700, D3/s/x, 1Ds, 1Dx, D4, D800? So long as you understand their strengths and limitations, all are capable of great images.

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Dorian Gray
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2012-03-01, 14:24

Quote:
Originally Posted by Mac+ View Post
Is this the year I finally make the jump to a digital SLR?
I think the timing's right, Mac+, if not terribly late! However, the prices are every bit as expensive now, if not more so, as they were five years ago. Thus far, all predictions about "cheap" full-frame digital SLRs have been wrong.

Quote:
Originally Posted by Matsu View Post
Can you really go wrong with any of the 5d, 5d2, 5d3, D700, D3/s/x, 1Ds, 1Dx, D4, D800? So long as you understand their strengths and limitations, all are capable of great images.
That's for sure. Canon's sample images for the original 5D are still online. There's little wrong with this image nearly seven years after it was shot! That website design, on the other hand...
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PB PM
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2012-03-01, 15:29

I could argue that Canon images look too digital, and the RAW files are a pain to work with, at least in my experience. I for one have had no luck producing, what I consider good images, from the units I've had the opportunity to try (all Rebels). That being said, I know many photographers who produce amazing work via those cameras, so I count that as personal failure (due to lack of familiarity with the cameras) and not a fault of the cameras themselves.

Personally I'll stick with Nikon, although the 5D MKIII looks more balanced in terms of specs than the D800. The one thing that held me back from switching to Canon when I went full frame was the Canon 5D MKII's poor AF tracking, (and burst speed) compared to the D700. I suspect those issues will be rectified with the 5D MKIII, but too little too late IMO.
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Matsu
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2012-03-01, 16:59

I'm keen to see an extensive D800 vs D800e test. Specifically something that compares the relative process for sharpening a d800 vs correcting a D800e file. Especially with lots of clothing. Something really in depth, with side by side shots of identical subjects, and then printed out to see how the files compare at differernt sizes.

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PB PM
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2012-03-02, 03:22

So the 5D MKIII is now official; MSRP $3499 USD. So even the D800E is cheaper.... oh Canon fail MKIII.

Linky

Canon also announced a new wireless flash, with radio triggers built in. I bet PW is crapping themselves now. The Nikon SB-910 looks like a bit of a fail now... oh Nikon you could have innovated, instead you just released a new flash to fix a problem that shouldn't have been in the SB-900 to start with. SB-920 by fall anyone?

Linky
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Dorian Gray
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2012-03-02, 03:47

I haven't studied these new items yet, but check out the prices of those new Canon gadgets, according to your DPReview link:
  • Canon Speedlite 600EX-RT US: $629.99 / EUR: €699 / UK: £679.99
  • Canon Speedlite Transmitter ST-E3-RT US: $470 / EUR: €320 / UK: £309.99
  • Canon Wireless File Transmitter WFT-E7 US: $849.99 / EUR: €759 / UK: £789.99
  • Canon GPS Receiver GP-E2 US: $390 / EUR: €279 / UK: £299.99
  • Canon Battery Grip BG-E11 US: $490 / EUR: €380 / UK: £329.99
That's about 1700 euros to add wireless flash, a battery grip, and a GPS receiver. (Maybe the street prices will be lower.)
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PB PM
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2012-03-02, 03:54

Yeah, not cheap. I'm already seeing posts from Canon video shooters that are saying, "So I'm getting the D800 for the RAW video via HDMI...". Sounds to me that we will see some video shooters jumping ship after the lacklustre updates in that area from Canon.
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Matsu
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2012-03-02, 06:50

Built in radio triggers are a worthwhile advancement, and maybe the writing is on the wall for third party flash triggering systems. The only real pro use issue is how well these play with other flash systems both in studio and on location. I suspect they don't, so it may not be that helpful if you need to control the lights up in the rafters. But that's true of IR based systems as well. Where the Canon should excel, is for the wedding photographer who wants to set up his flashes outside in the sun, without any issues and without the fuss of separate triggers. It sounds like a great solution there. I wonder if it has any sync timing tricks up it's sleeve?

Now, if Canon and Nikon really wanted to make a splash in lighting, they would roll out some big lights in addition to built-in radio triggering, something between a Q-flash t5 and Einstein 640 should do for movement in and out of the sun, as well as motion stopping capability. Make it all eTTL/iTTL compatible and with some sort of modular mounting ring for existing flash modifiers. Do something cool with it, like use LED based modeling lights, and provide a fully manual slave mode for those not shooting C or N. Canon is now part way there, though the transmitter needs a bit more range.

I'm always impressed by the detail I can get from a relatively pedestrian DX camera just using a big softbox and a single speedotron. With 20-36MP on hand and a larger frame, I think a lot of pros can legitimately use a full-frame dslr in place of a medium format, even for high-end work. Lighting set-up, IMHO, makes enough of a difference to cancel many of the larger format's advantages. System integration then, for those kinds of uses, could be a big selling point.

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Matsu
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2012-03-02, 08:54

The 5D3 is an interesting proposition. Looks like Canon sought to make a better all-rounder 5D2, which is appropriate, who can blame them for that? However, the new sensor is a bit weird from a marketing standpoint. A quick scan of the spec sheet shows video a likely strong consideration for the choice of 22MP. With 5760 pixels across the long end, it works out to exactly a 3x3 to 1 downsample. Simple, effective use of the whole frame. The clearest indication that this sensor was designed with video functions in mind, and maybe there are some other video specific tricks built into it, like jello cam suppression of some sort.

It has to have something, because really it's not so far off the 18MP 1Dx, and if the low light photo quality of that is substantially better - wouldn't it otherwise be simpler just to use the better sensor in both?

Looking at the following sample: 5D3 @ ISO 25600, at night

I see a lot of mush. It is a worst case scenario: darkness at a distance, with details occupying relatively small angles of the frame. Still, it doesn't look too much better in that photo than output from Sony's 24MP APSC. For comparison so far, the only D800 samples at ISO 25600 have been in better conditions, but even so they don't have the smearing, they have noise, but they have detail. I expect it'll be better with subjects at a reasonable distance, but based on this, I don't think the 5D3's plus one and plus two settings are going to be that useful for print.

But again, for video, sampled down to 1080P, could be a really good performer.

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Matsu
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2012-03-02, 17:08

There are some better 5D3 samples now - I'm still seeing lots of smearing, so I guess we have to wait for properly processed RAW files. Jeff Ascough has had a pre-production unit for the last two weeks. He really likes both its AF and its high ISO performance - says it's two stops better than his 5d2. As far as available light work goes, the guy knows what he's doing. I'm a big fan, even though his images often aren't the last word in sharpness, they're real available light work, not "asked for", or posed to look journalistic, they're the real - fly on the wall - deal. Mostly black and white, the best of them have chiaro-scuro with a hint of hollywood/paramount aesthetic that just works for what he does. I don't care for his landscapes, a bit too moody and dark.

There's a suggestion out there that we will see a Canon studio camera around September, slow shooting, huge resolution, maybe 40+ MP.

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