That’s “**E**lectronic **V**iewfinder, **I**nterchangeable **L**ens,” or a SLR without the “R”eflex mirror. And here is how Nikon got EVIL:
The Nikon 1 system. Press image, relayed via NikonRumors
[Nikon 1]: http://imaging.nikon.com/lineup/acil/index.htm “Advanced Camera with Interchangeable Lens—Nikon Imaging”
This is the [Nikon 1][Nikon 1]. For obvious reasons, Nikon is not calling it EVIL, but instead A-CIL (Advanced Camera with Interchangeable Lenses). Call it what you like, I’m a big fan of the EVIL camera, and this is the first of this type introduced from the “big two” (Canon or Nikon).
The new camera will debut in October with two body types (J1 and V1), with four lenses and three accessories..
Continue reading about the Nikon 1 and other compact system cameras after the jump
I received this e-mail:
Trust this finds you well. I am hoping I can impose upon your photography expertise with a question. My wife has been shooting our son’s high school football games (played at night under the lights) with our basic Cannon SLR rebel and using a borrowed Sigma telephoto lens that I think is an 18-200mm and there were some other specs but I can’t find my notes.
Anyway – knowing that the prime purpose is to shoot football games at night where the lighting is ok at best – and wanting a good amount of zoom capability – can you recommend some options in the $500 – $750 price range for me? Also a good retailer or place to buy such an item?
There are really two questions here: what is the ideal lens to buy for night (from the stands) night sports photography, and what is the best lens to buy in a given price range. The answer to the second question may be…nothing at all.
You can read on, or read .
Continue reading about sports lenses and lens rentals after the jump
(Article continued from part 1)
Bigger in photography means, faster, better, stronger (and more expensive).
Many people will say the only advantage of a digital SLR is that it gives you the flexibility of interchangeable lenses.
I think that’s bullshit.
If it was true, then the days of the dSLR are surely numbered—EVIL has arrived. EVIL, for those of you who don’t know, is an acronym so new, . EVIL stands for “electronic viewfinder, interchangeable lens” and they are a new class of camera I’ll talk about another time. Suffice it to say, EVIL will not replace SLR photography—in the same manner that APS-C has not yet dethroned 35mm (much to my surprise). Besides, a lesser-performing EVIL camera costs nearly twice as much as the kits in this article.
I believe the biggest advantage can be found in its name: Single-Lens Reflex.
In order to have a single-lens design, in order to house a reflex mirror, the dSLR has to be big—and bigger, in this case, means faster, better, stronger (and more expensive).
Marie the shooter
, Pacific Heights
, San Francisco, California
Leica M8, Carl-Zeiss Biogon 2,8/25 ZM T*
1/45sec @ ƒ2.8, ISO160, 25mm (34mm)
This portrait of Marie and her new Nikon D5000 entry dSLR kit was taken by an APS-H camera, which sits between APS-C and “full frame” in size. Even though this is taken with , you can easily see she really pops from the background.
From your art classes, you may have learned that perspective helps a 2D image show the 3D dimensionality. In photography, another tool, in addition to perspective, is focus via depth-of-field. Focus helps draw the eye, through the visual clutter, to the subject. This tool is nearly non-existent in a pocket digital.
By the way, the lens used in this photo —the parts that are in focus are really quite sharp. Computed depth-of-field is about half a foot (20cm).
Continue reading about Sometimes bigger is better after the jump
Caitlin talks about a particular dream of hers: high-definition APS-C sensor videocameras in two articles: here and here, including the much-awaited mention of Sony’s new CMOS sensor.
I’ll go even a step further. I think that such a manufacturer should standardized on a modified Nikon F, Canon EF-S, or Olympus 4/3 (if 4/3″ instead of APS-C) mount. This way, out of the box, a whole set of lenses will work with such a camera and they can still make gobs of money on their own custom “kit” lenses that allow zoom control (and other features cinematographers need but film camera lenses don’t have).Continue reading more about large sensor video cameras after the jump