The NIKKOR Z 24-70mm f/2.8 S Implements the Latest Nikon Optical Technologies to Reinvent One of Nikon’s Most Coveted Zoom Lenses for the Full-Frame Mirrorless Z System
MELVILLE, NY – Today, Nikon Inc. announced the NIKKOR Z 24-70mm f/2.8 S: a much-anticipated, fast-aperture zoom lens that’s ideal for professional and advanced photographers who capture portraits, landscapes, weddings and events, as well as content creators who shoot video using Nikon’s revolutionary new Z Mount System.
Designed to take full advantage of the wider, brighter and faster Z Mount, this new S-Line lens delivers stunning sharpness all the way to the corners of the frame, even when used at its maximum aperture.
The NIKKOR Z 24-70mm f/2.8 S is the first NIKKOR lens to use the all new Nikon-designed ARNEO coat, which is used in conjunction with Nikon’s Nano Crystal Coat to significantly minimize flare and ghosting.
The lens also includes Nikon’s new Multi-Focus System to help ensure fast and accurate autofocus even when shooting close-up subjects.
Additionally, the 24-70mm f/2.8 S is the first NIKKOR Z lens to feature a dedicated manual focus ring independent of the customizable control ring, a Function (L-Fn) button, and an Organic EL Lens Information Panel for quick reference of key settings such as focus distance, depth-of-field, aperture and focal length.
“The NIKKOR Z 24-70mm f/2.8 S is the lens that Z Series users have been waiting for, a lens that many photographers and videographers would never leave home without,” said Jay Vannatter, Executive Vice President, Nikon Inc.
“Lightweight and tack sharp, the 24-70mm f/2.8 S is a great example of the outstanding performance and portability that is possible with our next-generation Z Mount System.”
NIKKOR Z 24-70mm f/2.8 S – Performance, Precision and Optical Superiority
The NIKKOR Z 24-70mm f/2.8 S builds on a century of Nikon optical heritage by harnessing the technical advantages of the Z Mount.
This type of lens is known as a photographer favorite due to its versatility, useful zoom range, fast aperture and sharpness.
Nikon was able to redesign this all-around zoom lens to achieve a new standard of performance, while making it both smaller and lighter—approximately 24.7% lighter and 18.4% shorter than the popular AF-S NIKKOR 24-70mm f/2.8E ED VR lens.
The NIKKOR Z 24-70mm f/2.8 S takes advantage of the latest optical technologies to ensure exceptional control of aberration, ghosting and flare.
Featuring an optical construction of 17 elements in 15 groups—including two ED glass elements and four aspherical elements—the lens delivers sharp, virtually vignette-free performance from edge-to-edge across its entire zoom range, even at maximum aperture.
Additionally, the NIKKOR Z 24-70mm f/2.8 S is the first NIKKOR lens to feature Nikon’s all-new ARNEO coating: a multi-layer coating that is used in conjunction with Nano Crystal Coating for superior anti-reflective performance.
While Nano Crystal Coat suppresses ghosting and flare coming from backlight at diagonal angles, the ARNEO coat compensates for light entering the lens from vertical angles.
This expanded field enables the lens to capture exceptional contrast and sharpness even when the light source is visible inside the frame.
To help ensure fast, accurate and silent autofocus, the NIKKOR Z 24-70mm f/2.8 S combines a powerful stepping motor (STM) with Nikon’s new Multi-Focus System.
This system uses two actuators to move two focus groups at once, enabling the lens to achieve critical focus rapidly from nearly any distance, including close-up shooting.
The 24-70mm f/2.8 S is the most customizable NIKKOR Z lens yet.
The lens features an Organic EL Lens Information Panel that allows for quick confirmation of aperture and focal length or focus distance and depth-of-field without looking at the viewfinder.
For enhanced versatility, the addition of a L-Fn button allows you to set over 20 custom functions when shooting stills.
The lens is also the first to feature an independent focus ring in addition to the customizable control ring found on all S-Line lenses, giving professional photographers and videographers more comfortable and convenient control over their shooting experience.
Finally, the NIKKOR Z 24-70mm f/2.8 S was designed to excel at video in addition to stills capture, taking full advantage of the industry-leading video features found in the Nikon Z 6 and Z 7.
Its design minimizes focus breathing, preventing the angle of view from changing when the focus is adjusted; the stepping motor and Multi-Focus System ensure fast, accurate and quiet focusing; full compatibility with the built-in 5-axis VR of the Nikon Z System ensures users can capture super-smooth video hand-held; and the customizable control ring, independent focus ring and Organic EL panel give filmmakers even more control over this exceptional lens on-set.
The NIKKOR Z 24-70mm f/2.8 S is destined to be an instant classic—a must-own lens for Nikon Z Series creators of all types.
An indispensable standard zoom lens for professionals, advanced photographers and video creators—ideal for environmental portraits, landscapes, weddings, events, studio and street photography.
Constant f/2.8 aperture throughout the zoom range delivers the subject separation, speed and gorgeous bokeh professionals demand.
Exceptional optical performance achieves edge-to-edge sharpness and minimal aberration in an incredibly lightweight and portable package, thanks to the revolutionary new Z mount.
All-new ARNEO coating works in conjunction with Nikon’s Nano Crystal Coat to minimize ghosting and flare when the light source is within the frame.
Fast, accurate and quiet autofocus throughout the zoom range, thanks to Nikon-designed Multi-Focus System and Stepping Motor.
Built-in Function (L-Fn) button, Organic EL Lens Information Panel and independent focus ring give creators more control over their shooting experience.
Fully compatible with in-camera 5-axis VR found in the Nikon Z 6 and Z 7, providing up to 5 stops of image stabilization without adding to the size or weight of the lens.
Optimized for video, with reduced focus breathing, a quiet stepping motor, customizable control ring, and the ability to take advantage of the in-camera 5-axis VR + eVR of the Nikon Z 6 and Z 7.
Designed with consideration to dust and drip resistance, and featuring a fluorine coat that effectively repels dust, water droplets, grease and dirt.
Price and Availability
The NIKKOR Z 24-70mm f/2.8 S will be available in spring 2019 at a suggested retail price (SRP) of $2,299.95.
This is an ultra-low-cost, tiny and light full frame mirrorless interchangeable lens camera that will make a great step-up or even first camera.
The review awaits some lab testing, but a significant amount of the information is already included.
New Super-Compact and Ultra-Lightweight EOS RP is Ideal for Users Looking to Graduate to Full-Frame Mirrorless Camera at an Affordable Price
MELVILLE, N.Y., February 13, 2019 – Responding to the demand from amateur and advanced amateur photographers for an entry-level, full-frame mirrorless camera, Canon U.S.A.
Inc., a leader in digital imaging solutions, today announced the second camera in the EOS R lineup, the EOS RP.
The EOS RP is designed for photographers looking to step up from Canon’s APS-C cameras: the EOS Rebel, EOS M and the EOS 80D, into the world of full-frame mirrorless photography.
Weighing in at just 17.29 ounces, the EOS RP camera is lighter than a 500ml bottle of water and smaller than Canon’s popular APS-C DSLR camera, the Canon EOS Rebel T7i, coming in at approximately 5.0in (w) x 3.77in (h) x 2.36in (d).
With optics at its core, the EOS RP takes full advantage of the complete line up of RF lenses and is compatible with the existing collection of Canon’s EF and EF-S lenses with the use of one of three optional RF EOS-R Mount Adapters.
“As Canon continues to evolve its full-frame mirrorless cameras, our goal is that one day the EOS R line becomes as widely popular as our celebrated lineup of EOS DSLR cameras,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“As a company, we believe that in order for us to accomplish that goal, Canon needs to develop full-frame mirrorless cameras for every skill level of photographers and that starts with amateurs and advanced amateurs.
This makes the EOS RP the perfect addition to the existing lineup.”
The new Canon EOS RP full-frame mirrorless camera features a 26.2 megapixel CMOS sensor that is powered by the company’s DIGIC 8 image processor, providing users with high-image quality, outstanding operation and functionality.
The new Canon EOS RP features Dual Pixel CMOS Auto Focus (AF) with 4,779 manually selectable AF points and a wide AF coverage area of 88 percent horizontal and 100 percent vertical.
With f/1.2 lenses, the camera astonishingly boasts AF sensitivity in low light in as little as Exposure Value (EV) -5.
When using the RF 24-105mm F4 L IS USM lens with the EOS RP, the camera can focus in as little as 0.05 seconds with Dual Pixel CMOS AF .
When using eye detection AF, the camera can automatically detect faces and focus on the eye of the subject.
This feature is supported when the camera is set in either servo AF mode during continuous shooting and movie servo AF, as well as one-shot AF.
Like the EOS R full-frame mirrorless camera that was announced in September 2018, the EOS RP is built around the same 54mm mount diameter and short-back focus.
This allows for the use of one of three optional mount adapters for full compatibility with all existing EF, EF-S, TS-E and MP-E lenses.
Through the use of the optional Drop-In Filter Mount Adapter or Control Ring Mount Adapter, these lenses, in fact, gain functionality.
For photographers looking to further expand their abilities and capture a wide variety of both still and video images, the EOS RP features Visual Guide mode.
First introduced with the EOS Rebel T7i and EOS 77D, this mode allows users to see on screen how switching modes on the mode dial or tweaking settings can alter the image they are about to capture.
This mode helps to guide photographers to capture more compelling images, such as ones with a shallow depth-of-field or being able to give moving subjects a frozen or flowing look.
For those looking to expand their imaginative options, the camera also features Creative Assist mode that allows photographers to use new and unique visual effects and adjustments when shooting, such as brightness, contrast, saturation, color tone, monochrome and background blur.
In addition, the design, ergonomics, layout and ease-of-use of the camera are very similar to that of other Canon cameras consumers might already be familiar with.
Additional noteworthy features of the EOS RP camera include:
Built-in 0.39 inch, 2.36 million dot Electronic Viewfinder with Touch-and-Drag AF
Vari-Angle LCD touchscreen
4K UHD 24P/Full HD 60p video recording with 4K time-lapse shooting and the ability to extract still images from 4K video recordings
ISO range of 100-25,600 that is expandable up to ISO of 102,400
Built-in Wi-Fi and Bluetooth technology
Mobile RAW workflow supported paired with Digital Photo Professional Express App
Availability and Pricing
The Canon EOS RP full-frame mirrorless camera is scheduled to be available in March 2019 for an estimated retail price of $1,299.00 for the body only.
It will also be sold as a body-and-lens kit with the RF 24-105mm F4 L IS USM lens for $2,399.00.
MELVILLE, N.Y., February 13, 2019 – Continuing with the message of “optics at its core,” Canon U.S.A.
Inc., a leader in digital imaging solutions, today announced that its parent company, Canon Inc, is developing six new RF-series lenses, further displaying the company’s commitment to the EOS R full-frame mirrorless camera system.
Canon’s new RF mount allows for fast, light, and high-performing optics with a large opening diameter and short back focus distance.
Each new lens in development will help fulfill the needs of amateur and advanced amateurs to professional photographers and videographers, covering critical focal lengths.
In 2019, Canon’s already well-established optical lens heritage will celebrate a production milestone of 140 million EF and RF lenses and the celebration starts with the development announcement of these six lenses.
The six new RF lenses under development include:
RF 85mm F1.2 L USM
RF 85mm F1.2 L USM DS
RF 24-70mm F2.8 L IS USM
RF 15-35mm F2.8 L IS USM
RF 70-200mm F2.8 L IS USM
RF 24-240mm F4-6.3 IS USM
“Optics are the critical piece of the visual puzzle that bend light and capture an image as the artist envisioned,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“That is why it is so important for us to strengthen our family of RF lenses for the EOS R camera system.
With this collection of new lenses, customers will have more of the tools they need, for the images they desire to create.”
All six RF lenses under development are built around Canon’s new RF mount, which features a large 54mm diameter and shorter back focus distance than on current EOS DSLR cameras.
In addition, the RF mount enhances communication and power transmission between the lens and camera body, which has helped Canon to achieve the world’s fastest autofocus speed for a full-frame mirrorless camera system.
The details of the new Canon RF lenses under development are as follows:
The RF 85mm F1.2 L USM is a large aperture mid-telephoto prime lens.
It offers excellent performance for advanced and professional portrait photographers and is a widely popular focal length and aperture speed combination for users.
The RF 85mm F1.2 L USM DS, with Defocus Smoothing lens technology, is a uniquely designed lens that offers a combination of beautifully smooth defocused bokeh.
Featuring a super-fast F1.2 aperture, the lens will help produce breathtaking portraits that will surely stand out from the crowd.
The RF 24-70mm F2.8 L IS USM is a high-performance, standard zoom lens for professionals and photo enthusiasts alike – ideal for shooting portraits, landscapes, documentaries or weddings.
The RF 15-35mm F2.8 L IS USM, offering a wide angle and fast aperture in a single package, is ideal for a variety of shooting applications including architecture, interiors or landscapes.
The RF 70-200mm F2.8 L IS USM is a must-have for any professional photographer, especially for those shooting weddings, sports or wildlife.
This lens is a great all-around, high-speed, medium telephoto zoom lens and does well to round out any camera bag.
The RF 24-240mm F4-6.3 IS USM is the ideal lens for amateurs and advanced amateurs who love to travel, no matter the destination. The versatile, all-purpose lens offers a range of focal lengths for capturing extraordinary shots in a form factor that is both compact and lightweight.
All six of the new Canon RF lenses under development are expected to be available later in 2019*.
*Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
Changes for Z 6 Firmware v.1.01 & Z 7 Firmware v.1.03:
When On is selected for HDMI > Advanced > N-Log setting in the SETUP MENU, Maximum sensitivity now takes effect during movie recording if:
The camera is in mode P (programmed auto), S (shutter-priority auto), or A (aperture-priority auto), or
The camera is in mode M (manual) and On is selected for ISO sensitivity settings > Auto ISO control (mode M) in the MOVIE SHOOTING MENU.
Fixed an issue that resulted in third-party software showing an incorrect value for the Exif 35 mm format equivalent focal length field for photographs taken with a non-CPU lens connected via an FTZ mount adapter with the focal length specified using the Non-CPU lens data item in the SETUP MENU.
Fixed an issue that resulted in photographs taken using radio-controlled Advanced Wireless Lighting being overexposed if a face was detected with Auto-area AF selected for AF-area mode.
Additional changes for Z 6 Firmware v.1.01:
Fixed an issue that resulted in an incorrect aperture being selected in mode P (programmed auto) with a flash mounted on the camera under conditions in which f/32 would normally be selected.
Fixed an issue which prevented flash units controlled via radio Advanced Wireless Lighting syncing with shutter speeds of 1/100 s or faster with:
On selected for Flicker reduction shooting in the PHOTO SHOOTING MENU and
Enable selected for Custom Setting d5 (Electronic front-curtain shutter) in the CUSTOM SETTING MENU.
Today we’re releasing updates to the entire Adobe photography ecosystem, including Camera Raw, Lightroom Classic CC, and Lightroom CC for Mac, Windows, Android, ChromeOS, and iOS.
In this release, we’re introducing an all-new Sensei-powered feature, Enhance Details.
Harnessing the power of machine learning and computational photography, Enhance Details can now be found in Adobe Camera Raw, Lightroom Classic CC, and Lightroom CC for Mac and Windows, and takes a brand new approach to demosaicing raw photos.
Demosaicing is an integral process to raw processing and works at the pixel level, converting the information captured by a camera into something that looks like the photos we all expect to see.
The new Enhance Details algorithm enables you to increase the resolution of both Bayer and X-Trans based photos by up to 30%.
Enhance Details works on any raw file apart from files converted to a linear raw file, HDR or Panorama merged files (though you can apply Enhance Details to the ingredient files first and then merge), smart proxies, lossy compressed DNGs, or DNGs saved with 1.1 compatibility.
Applying Enhance Details to your photos can greatly improve fine detail rendering, improve the reproduction of fine colors, and resolve issues that some customers reported with their Fujifilm X-Trans based cameras.
If you would like to know more about Enhance Details, a white paper can be found here and if you’d like to try Enhance Details on a Fujifilm X-Trans based file, you can download one here.
All of the apps have also been updated to support new cameras and lenses.
Newly Supported Cameras
Nikon COOLPIX A1000
Olympus OM-D E-M1X
Sony A6400 (ILCE-6400)*
* Preliminary support
Newly Supported Lenses
Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR Nikon
Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.4x
Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.7x
Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 2.0x
Lightroom CC for Mac and Windows
In addition to Enhance Details, we’ve also added HDR, Pano, and HDR Pano merge tools, the Target Adjustment Tool, and histogram clipping indicators.
HDR, Pano, and HDR Pano merge
High dynamic range (HDR) and panoramas are two types of photos that combine multiple frames to create visually stunning results that would otherwise be impossible to create from a single photo.
Lightroom CC can merge either raw or non-raw photos together into HDR and panorama photos, and when merging raw files, the resulting DNG maintains all of the benefits of a raw file, with the ability to change white balance and recover highlights, giving you the best possible results.
Capturing a panorama can be done either handheld or with a tripod.
When shooting handheld, Lightroom’s powerful alignment technology will align each photo and correct for any distortion.
Using a tripod can yield even higher quality results and provides more flexibility for difficult shots, such as super-wide panoramas.
When capturing a series of photos for HDR, including both HDR and HDR Panos, it’s often recommended to use your camera’s auto exposure bracketing mode, which results in a series of photos being captured in a row, varying the exposure for each shot.
Consult your camera’s manual for how to enable its auto exposure bracketing mode.
When capturing an HDR Pano, capture each series of exposures before moving the camera.
This is where having a tripod and a remote trigger can be quite handy.
Once you’ve imported the photos into Lightroom, select the photos that you want to merge, and then navigate to Photos > Photo Merge > and select the appropriate merge option.
Target Adjustment Tool
The Target Adjustment Tool (TAT) gives you precise control over color and tonality and is available in both the Tone Curve, Color Mixer, and B&W Mixer tools.
To access the TAT, open either the Tone Curve, Color Mixer, or B&W Mixer and click on the target icon.
A new control will show up at the bottom of the screen that provides control over what the TAT will affect while interacting with your photo.
Clicking and dragging on your photo will then directly adjust the Tone Curve, Color Mixer, or B&W Mixer (depending on which is currently active) for the color or tonality under the mouse cursor, enabling you to quickly modify different parts of your image directly and effectively.
For example, clicking and dragging on the sky in a photo with the TAT focusing on the Color Mixer tool in Saturation mode enables you to increase or decrease the saturation of the colors in the sky.
Histogram clipping indicators
The term clipping refers to areas that have become either too bright or too dark to have any details in them, such as an area of pure white (highlights) or pure black (shadows).
An image may either be captured with clipped highlights or shadows due to the scene having too high of a dynamic range such as a very bright and sunny day or clipped areas may be introduced while editing the photo.
You can use the histogram clipping indicators to ink the areas of your photo with clipped highlights in red or clipped shadows in blue.
To enable the histogram clipping indicators, first ensure that the histogram is visible by navigating to View > Edit Panels > Show Histogram, which will show the histogram at the top of your edit panels.
You can then selectively turn on the clipping indicators individually by clicking on the either the left (shadows clipping) or right (highlight clipping) triangles.
Lightroom CC for iOS
This release makes it possible to create ad-hoc photo shares and continues to focus primarily on behind-the-scenes updates and preparation for exciting features that will be coming soon.
For a full list of improvements and bug fixes found in this release, please visit the What's New page.
Ad-hoc photo shares
You can now create an online share of photos with an arbitrary assortment of photos.
Instead of creating an album and sharing that album, you can now select any number of photos that you want to share, tap the 3-dot menu at the top-right of the screen, and then select Share to Web.
Like any other web share, you can control whether people that you share that link with can download or see the photos’ metadata.
Lightroom CC for Android and ChromeOS
This release primarily focuses on foundational improvements and bug fixes, making way for new features coming soon.
For a full list of improvements and bug fixes found in this release, please visit the What's New page.
Lightroom Classic updates
In this release, we further improved tether performance and stability with Nikon cameras.
Nikon cameras now have the same speed and stability as Canon cameras after the October 2018 release.
Tethered image transfer at the time of capture should now be a faster experience overall in Lightroom Classic.
You also now have the convenience of controlling basic camera features, like ISO, shutter speed, aperture, and white balance within the tether bar itself.
Additional details on this enhancement can be found here.
For a full list of the improvements and bug fixes, please visit the What's New page.
Mike Olbinski presents his inspirational story about taking a passion for storms and turning it into a photography business. He then follows that with some great, basic guidelines about photographing storms, lightning, and even some time-lapse tips thrown in the mix.
Lawrenceville, NJ – (February 11, 2019) – Datacolor, a global leader in color management solutions, has launched SpyderX, its fastest, most accurate and easiest to use color calibration tool for monitors.
The development of SpyderX is testament to Datacolor’s commitment in advancing color management solutions for photographers, videographers and creative specialists worldwide.
SpyderX uses a fully redesigned color engine that provides significantly increased color accuracy and low light capabilities, giving photographers the confidence needed to achieve their creative vision.
SpyderX enhanced features include:
Blazing Speed – Taking less than two minutes to calibrate a screen, the SpyderX is several times faster than previous models, with calibration happening so fast it easily becomes part of the workflow.
Highest Accuracy – Providing a significantly higher level of color accuracy and shadow detail on a wide range of monitors.
Ease of Use – Simple and intuitive single-click calibration software, as well as advanced options.
Susan Bunting, director of marketing at Datacolor, said: “We know photography is a labor of love, and a lot goes into taking every shot.
That’s why we’ve redesigned SpyderX from the ground up, ensuring you can trust the color on your screen while making the whole process of calibration as intuitive and quick as possible.”
Now available in two versions, the SpyderX Pro is designed for serious photographers and designers seeking a fast and easy-to-use monitor calibration solution.
The SpyderX Elite takes it one step further with more advanced settings for professional photographers and videographers who want ultimate control of their color workflow.
Purchase SpyderX at Amazon or other authorized resellers.
Those photographers looking for a versatile full frame camera but not needing the blazing speed afforded by a pro sports body (and who are not interested in a mirrorless option) will likely be considering either the Canon 5D Mark IV or Nikon D850 DSLR camera.
Both DSLRs are the mature, durable, refined culminations of their respective camera lines. But which is right for your particular needs? Read on to find out.
Shared Primary Features
Exposure Compensation: +/-5 EV
Shutter Speed: 30-1/8000 sec., Bulb
Viewfinder Coverage: approx. 100%
3.2" size-class touchscreen LCD
No pop-up flash
Continuous Shooting Speed: 7 fps (Nikon D850 can achieve 9 fps with optional battery grip)
4K recording up to 30 fps
SuperSpeed USB 3.0, 3.5mm headphone & microphone jacks, HDMI Type-C
Dual memory card slots
Similar size & weight
Advantages of the Canon 5D Mark IV
More Selectable AF Points: 61 vs. 55
More Selectable Cross-type AF Points: 41 vs. 35
More AF Points Supporting f/8 (total/selectable): 21/21 vs. 15/9
Live View Focusing: Dual Pixel CMOS AF vs. contrast detection
NFC vs. N/A
Built-in GPS vs. optional accessory
Advantages of the Nikon D850
Higher Resolution: 45.7 MP vs. 30.4
More AF Points: 153 vs. 61
More Cross-type AF Points: 99 vs. 41
Larger AF Working Range: EV-4 to EV 20 vs. EV-3 to EV 20
Larger Metering Range: EV -3 – 20 vs. EV 0 – 20
Lower Selectable ISO (native/expanded): 64/32 vs. 100/50
Better dynamic range
More Registered Custom White Balance Settings: 6 vs. 1
Higher Resolution LCD: 2,359K dots vs. 1,620K
Tilting LCD vs. fixed
Faster Flash Sync Speed: 1/250 sec. vs. 1/200
Full Sensor Width 4K Recording vs. 1.74x crop
Bluetooth vs. N/A
Battery Life: 1,840 shots vs. 900
Shutter Durability: 200,000 shots vs. 150,000
Automated AF Fine Tune vs. manual Autofocus Microadjustment
8K in-camera time-lapse vs. FHD 1080p time-lapse
Negative Digitizer Mode vs. N/A
Backlit buttons vs. N/A
Focus Shift mode vs. N/A
More Auto Exposure Bracketing Images: 9 vs. 7
Limited Focus Peaking vs. N/A
Other Differences: 5D Mark IV vs. Nikon D850
CompactFlash, SDXC vs. XQD, SDXC
4K DCI 4096 X 2160 vs. 4K UHD 3840 X 2160
Who should opt for the Canon 5D Mark IV?
While the advantages of the D850 listed above may seem pretty long, if you're already heavily invested in the Canon system, you have to ask yourself whether or not those benefits are worth the high cost of selling used items to fund alternate gear and the time investment required to acclimate to the new system.
For some, the advantages may be worth the tradeoffs. For others, the 5D Mark IV's feature set makes it a more than worthwhile addition to their kits.
If you are a videographer who plans to use autofocus tracking while filming, the Canon EOS 5D Mark IV will be the best option by far.
Canon's Dual Pixel CMOS AF technology is significantly better at locking onto subjects compared to the contrast detection sensor AF utilized by the Nikon D850.
While many will not like the 5D Mark IV's heavy crop with 4K recording, some videographers (especially those shooting wildlife) may find the crop beneficial for more tightly framing distant and/or smaller subjects.
Want to shoot with the widest aperture lenses possible? F/1.2 aperture primes with autofocus are a reality for Canon DSLR and mirrorless customers; Nikon users will have to invest in a Z 7 / Z 6 and wait for the release of the manual focus-only Z 58mm f/0.95 S Noct to use an aperture wider than f/1.4.
Who should opt for the Nikon D850?
Those with Nikon-based kits who do not need the benefits of Canon's Dual Pixel CMOS AF sensor have little (if any) reason to switch brands; the Nikon D850 is one of the most feature-packed and versatile cameras available today.
While the advantages listed in the Nikon D850 column seem strong, both of these cameras are highly capable of tackling a wide range of situations with nearly equal proficiency.
As I said in the introduction, these cameras represent the culmination of generations of camera design. The technological innovations, durability and user interface refinements that come with that time and attention to detail are apparent the first day you use the cameras.
Those heavily invested in either system will likely want to stay with their familiar respective brands, but those with fewer ties will likely opt for the Nikon D850 for primarily stills use while those prioritizing filmmaking and want the benefits of solid AF performance will likely opt for the 5D Mark IV.
I have a Nikon D850 in my hands and it is time to set up the camera for use.
Following are the 31 steps I took to make an out-of-the-box Nikon D850 ready for use.
Install neck strap
Mount a lens
Insert charged battery and power on the camera
While looking at an in-focus subject through the viewfinder, adjust the viewfinder diopter until the view is sharp. To do this, pull out on the adjustment knob beside the viewfinder and turn it until the view is sharp. Then press it back in to lock the setting.
Scroll through all of the menu tabs to configure the camera as follows:
Playback Menu: Display Options: RGB Histogram (I want to see the graph of individual channels)
Playback Menu: Image review: On
Photo Shooting Menu: Image Quality: RAW
Photo Shooting Menu: Set Picture Control: Neutral with sharpness set to "1" and all other parameters set to "0" (this option provides a low contrast view and better shows available dynamic in the histogram)
Photo Shooting Menu: High ISO NR: Off (Low is also a good option)
Photo Shooting Menu: Vignette control: Off
Movie Shooting Menu: Frame size/frame rate: 3840x2160; 30p
Movie Shooting Menu: Set Picture Control: Standard with Sharpening = +2
Setup Menu: Slot empty release lock: Lock (I want the camera to prevent me from taking a picture if a memory card is not installed)
My Menu: Add items: Setup menu: Format memory card, Lock mirror up for cleaning, Focus shift shooting, Shooting menu: Long exposure noise reduction, Flicker reduction; Shooting/display: d5 Exposure delay mode
I of course make other menu and setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration would mean that you intend to shoot similar to how I shoot – including shooting in RAW-only format (highly recommended).
While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea.
Anytime your camera goes in for a service visit, the camera will likely be returned in a reset-to-factory state (unless you request otherwise).
If your camera ever needs reset to factory settings any reason (or you purchase a second model), you will be ready to restore your setup quickly while ensuring that you do not miss an important setting.
Your list will ensure that you do not miss an important setting when putting the camera into service.
If you're an Amazon Prime customer and love sports cars and British humor, then you're probably already a fan of Jeremy Clarkson, Richard Hammond and James May's banter on The Grand Tour.
But even if you're not terribly interested in automobiles, you may still enjoy The Grand Tour: Season 3, Episodes 2 & 3 (Colombia Special Part 1 & 2) where the hosts are supposedly sent on assignment by Amazon to capture wildlife images for display on the company's suite of products, including Alexa devices.
My wife falls squarely in the uninterested-in-cars group, but loves the show.
Being a photographer, watching the hosts cluelessly tackle the challenges of wildlife photography made the show significantly more humorous than it normally was.
If you're an Amazon Prime customer, I recommend you check it out. [Sean]