D50 or D70?

Since Dru is considering a D50, here is what I wrote a long time ago about the D50.

I read that the D50 is supposed to be more colorful than the the D70. At the time I thought this could be because the default color space is sRGB-IIIa in the D50 and sRGB-III in the D70. This can be set in the custom menu. I set mine to AdobeRGB with the caveat that I have to use sRGB when uploading to the web. In any case, I was wrong. It turned out that Nikon has improved the anti-aliasing filter in front of the CCD. This makes the camera less noisy: according to Popular Photography, the D50 is less noisy than the D70s and the Digital Rebel! One penalty of the new filter is that you can’t do infrared photography with the D50, but since I don’t do IR photography, that’s a non-issue.

Nikon removes the “sub command dial” from the D50? Is that a deal killer? They still have a command dial and an alt key to turn it into a sub command dial—very Canon-like, in my opinion. Maybe if you do bracketing exposures, eyeball depth-of-field, or use gradient ND filters, the D50 seems like too big a compromise. But it takes the same shots as a D70 or a D100 (actually, it performs a little better) and costs less. I can’t say which is best for you.

What would I miss if I had purchased a D50 today instead of a D70 then
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I’ll buy what he’s buying…

A rant based on Flickr threads here and here.

I think my feeling about which dSLR camera someone should purchase is, to apply Louis Armstrong: “Man, if you gotta ask, you’ll never know.” The simple reality is that after a year and a half, the D70 is still too much camera for me. Maybe one day I’ll reach the point where I am limited by the D70 and not my lack of talent, but it hasn’t arrived. Both the Canon Digital Rebel (300D/350D) and the Nikon prosumer dSLRs (70D/50D/70Ds) have electronics even more sophisticated than Nikon F-series cameras up through the early 90’s. Some pretty amazing shots were taken by pros back then. Have they suddenly lost their value because their camera sucked?

No. That’s because at the end of the day, a camera body is just a light-tight box with a adjustable hole and a flap. Digital sensors may be different, but they are more limited by the state-of-the-art during the time it is built and simple physics than by anything else. What is going to be the most important thing is how it feels to the operator.

That’s why I can be a touch short with people who diss a camera choice with one breath and then take cover by calling anyone who disagrees with them as spewing “cult garbage.”

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Hoodman woes

My second D70 FlipUp LCD cap broke.

Hoodman started by making clever hoods for LCD displays. The most ubiquitous use of a Hoodman is when you see NFL referees peering under them during an instant replay review. In a recent DVD produced by Nikon, I saw Life photographer Joe McNally peering under one for instant outdoor 17″-diagnol image reviews. After the initial, “Gee, I wish I had a six-pack of SB-800s controlled by a Nikon D2X tethered via USB 2.0 to my Powerbook,” I thought, “neat stuff.”

I first heard about Hoodman when they made cloth and velcro shades in the early days of pocket digital photography. LCDs were really the suck back then—they make the Canon 5D’s LCD look exceedingly bright by comparison. People like me were often caught holding our hands up against the screen to review shots. The Hoodman was a great idea, sometimes it even came with a magnifier to make the small LCDs review much bigger.

It was only natural that when the FlipUp cap came out, I bought one:

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DxO Optics Pro 3.5 announced

book cover: Bridge to Terabithia

DxO Optics Pro 3.5 from DxO (email)

In November, DxO just announced they will be releasing DxO Optics Pro 3.5.

Maybe a bit of history is in order.

DxO started with DxO Analyzer package used by magazines and websites in order to evaluate the quality of lenses and cameras. Taking some shots of specialized targets at specific distances and camera settings, reviewers to analyze quantitatively things camera design compromises such as image sharpness, ISO noise, vignetting, chromatic abberation, and spherical distortion.
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Corpse Bride

Last week, Bill, our resident Canon guy, mentioned that Tim Burton was working on a new stop-motion animated movie called Corpse Bride using Canon digital still cameras. The attention to detail and imagination in motion animation never ceases to amaze us.

Mark Jen sent me this article confirming the use of Canon digital still cameras and Nikon lenses.

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The future of Nikon DX

Canon has an EF-S lens series, which is roughly like Nikon’s DX lenses except they won’t mount on their full-frame or film cameras.1

  1. EF-S 18-55mm f/3.5-5.6 USM
  2. EF-S 10-22mm f/3.5-4.5 USM
  3. EF-S 17-85MM f4-5.6 IS USM

For comparison, here is Nikon’s DX line:

  1. 12-24mm f/4G ED-IF AF-S DX Zoom-Nikkor
  2. 10.5mm f/2.8G ED AF DX Fisheye-Nikkor
  3. 17-55mm f/2.8G ED-IF AF-S DX Zoom-Nikkor
  4. 18-70mm f3.5-4.5G ED-IF AF-S DX Zoom Nikkor
  5. 18-55mm f/3.5-5.6G ED AF-S DX Zoom-Nikkor
  6. 55-200mm f/4-5.6G ED AF-S DX Zoom-Nikkor

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