Tag Archives: d610

Shallow

A lone juniper tree clings to life on a stony outcrop overlooking Grand Canyon. (Lipan Point, South Rim) (Bill Ferris)

A lone juniper tree clings to life on a stony outcrop overlooking Grand Canyon. This photograph was made with a Nikon D610, Tamron 24-70 mm, f/2.8 VC lens at 60 mm, f/2.8, ISO 100, 1/800-second. (Lipan Point, South Rim) (Bill Ferris)

Depth of field is as important to photography as lighting and composition. Normally when doing landscape photography, I use focal ratios in the f/9 to f/16 range. Large focal ratios deliver images with great depth of field where objects in the fore-, mid- and background are all in focus. On a recent trip to the South Rim of Grand Canyon, I decided to experiment with using shallow depth of field and the above photograph is the result.

I was at Lipan Point, one of my favorite overlooks on the South Rim. From Lipan Point, you are treated to a fine view of Desert View and Palisades of the Desert to the east, and of Wotans Throne and Angels Gate to the west. I followed a social trail from the parking lot to a stone outcrop offering an unobstructed view of the canyon. Even on days when the light isn’t good for photography, the view from this little perch is still worth the 90-minute drive. In the truest sense of the phrase, the view from this vantage point is awe-inspiring.

The sun was low in the southwest sky and painted the surrounding landscape with a slightly warm hue. A small juniper tree clinging to its perch atop the Kaibab limestone was bathed in a wonderful rim light. As I set up my tripod and Nikon D610 to frame the shot, it occurred to me that this photograph should be a portrait of the tenacious tree.

In portraiture, wide open apertures and the associated small focal ratios produce shallow depths of field. This blurs everything not in the focal plane and helps to create separation between the subject, and anything in the foreground or background.

For the above portrait, I used the Tamron 24-70 mm, f/2.8 VC lens. I chose a composition that would include the distant South Rim, inner canyon temples and buttes, a short section of the Colorado River and the creamy late-day light streaming into Grand Canyon. This context clearly identifies the location of the portrait as being Grand Canyon. blurring the background allows the tiny juniper tree to be the subject of the photograph, the star of the show so to speak.

The tenacity of life in a desert environment is on full display, here. The tree clings to a rocky outcrop, a place where you might think a plant would have no chance of survival. But life is determined and defiant in such places. Water can pool in the small rough divots atop the limestone. And where water collects, life is almost always found.

The next time you head out with your camera, why not try something you don’t normally do? If you usually shoot with long focal lengths, try using a wide angle lens. If you often shoot with wide open apertures, make it a point to use a small aperture. Wherever your comfort zone may be, step outside it and try something new.

Now, get out there and shoot.

Bill Ferris | December 2014

Giving

Arizona fundraisers and non-profit organizations gathered at Prescott Resort to celebrate 2014 National Philanthropy Day. (Bill Ferris Photography)

I recently had the opportunity to photograph and document a 2014 National Philanthropy Day celebration at Prescott Resort. My wife, founding partner of GoalBusters Consulting and a long time fundraising professional, asked me to be the photographer for the event and I readily accepted. While my first love in photography is landscapes, I have been actively seeking opportunities to expand my horizons – and develop new skill sets – by doing portraiture, sports and event photography. Taking on this assignment would not only allow me to grow my event photography portfolio, it would be an opportunity to give back by volunteering my time and talent in support of people who make it their daily mission to improve the lives of others through the arts, charitable and other not-for-profit organizations.

My task list was fairly straightforward; make photographs of the following:

Award plaques
Speakers making remarks at the podium
Each honoree with their presenter
Group shots of the honorees and also of the honorees with their presenters
People attending the event

As you can see in the above photo, the conference room where the event was held features a panoramic wall of windows. With most clear skies on the day of the event, a wonderful, soft midday light filled the room. Seeing the award plaques displayed on a table at the front of the conference room, I started the morning by capturing a series of photos of the awards. I made at least one photo of each plaque, individually, and also of the awards as a group. After some introductory remarks by my wife and her business partner, the attendees settled in for a catered lunch.

I took advantage of this break to make some photos of the attendees relaxing and chatting with each other. I also scouted the outside terrace patio for a location to use for the group photos. The patio outside the conference room overlooks the town of Prescott, Arizona to the west-northwest. Arranging the honorees with their backs to the terrace wall would position the sun behind and to their right. This would put their faces mostly in shadow so, I made a trip to my vehicle to retrieve the speedlight kit, light stands, umbrellas and modifiers.

GoalBuster’s Jim Anderson speaking at the podium during National Philanthropy Day at the Prescott Resort (Bill Ferris Photography)

The photo immediately above shows how the ambient outdoor light served as a beautifully soft light source when filtered through the window wall. I would have continued to shoot the event from this vantage point with my back to the windows, if not for two significant issues.

With most attendees seated directly in front of or to the left of the podium, speakers tended to look straight ahead or to their left to make eye contact with the audience. Rarely, would they look in my direction. As a result, there were few opportunities to see their eyes. The other and more significant issue was that honorees would approach the podium from the speaker’s left to receive their plaque. In hindsight, this is something I could have anticipated given that the awards were arranged on a table along the wall behind and to the left of the speaker.

When the first honoree approached the front of the room, she quite naturally stood to the left of the podium. This placed the podium between me, the honoree and her presenter, which made for an unflattering composition. I walked around the back of the room to the other side to get a better angle on the presentation. While standing with the podium to my left gave me an unobstructed view of the award presentations, it also meant that I was more or less facing the window wall. A proper exposure for the half of a person’s face illuminated by that gorgeous ambient light would leave the other half of the face darkened by shadow. A proper exposure for anything in shadow would leave the rest of the shot blown out.

Earlier after retrieving my speedlight kit from the car, I had made the above photograph of the attendees enjoying lunch in the conference room. Wanting both the view through the windows and the interior of the room to be properly exposed in a single shot, I had set up four speedlights to illuminate the room interior during the exposure. Two were Yongnuo YN-560 III’s, which have built-in radio receivers. The other two were Nikon SB-700’s, which were mounted on Vello FreeWave Fusion radio receivers. With a Yongnuo 603 NII radio transmitter attached to my Nikon D610 hot shoe and a Vello radio trigger mounted atop the 603 NII, I experimented with shutter speed and flash intensity until I was happy with the result.

Here, are the settings for the final exposure (Nikon D610, Tamron 24-70 f/2.8 VC):

24mm
f/10
ISO 450
1/160-second
Two speedlights at 1/2-power
Two speedlights at 1/4-power

While making my trek to the other side of the room to a vantage point with an unobstructed view of the honorees, I powered up and the speedlights (they were still set up and in position) and switched on the radio triggers on the D610. After a couple test shots to adjust settings, I was back in business.

An honoree (left) and her presenter at the National Philanthropy Day celebration at Prescott Resort (Bill Ferris Photography)

The above photograph is one of many I shots I made using speedlights on radio triggers to illuminate the subjects. I bounced the flashes off the ceiling to create and even wash throughout the conference room. With four speedlights at between 1/4- and 1/2-power, the recycle time was kept to a minimum. When photographing the presenter speaking at the podium, I used the following settings (Nikon 610, Tamron 70-200 f/2.8 VC):

200mm focal length
f/2.8
ISO 200
1/200-second exposure

When the honoree came up to accept their award plaque, I made portraits using different settings (Nikon 610, Tamron 70-200 f/2.8 VC):

Variable focal length (95mm to 140mm)
f/5.6
ISO 640
1/200-second exposure

My only concern with this set up was that the speedlights, when firing, would be something of a distraction for the attendees. However, I can safely say very few people even noticed I was using flash to illuminate the room. There was one gentleman who asked me about my lighting after the awards ceremony. Rather than finding it a distraction, he wanted to know more about the radio triggers and receivers.

While processing the RAW exposures, I noticed that the depth of field at f/5.6 was not quite enough to guarantee crisp focus on the eyes of both people. While the images are acceptable (in my opinion), I would probably shoot at f/7.1 or f/8 in the future to ensure sharp focus on both sets of eyes.

A group photo of the honorees and presenters at Prescott Resort for Arizona’s National Philanthropy Day celebration (Bill Ferris Photography)

After the ceremony, I went outside with the honorees and presenters to take the group photos. I made an exposure of the full group without using speedlights and, as expected, the faces were in shadow. After retrieving the Nikon SB-700’s, I recruited a couple of lighting assistants to hold the speedlights, one to the left and the other to the right of the group. I then made an exposure firing the SB-700’s at full power. This photo looked overexposed so, I reset the flash intensity to 1/2-power on each unit and retook the group photo. The resulting image is presented, above.

While the speedlights definitely help this photograph, I should have done a better job of arranging the group so nobody would be in shadow. Also, I had to do a fair bit of processing in Adobe Lightroom to recover highlights and reduce the overall exposure. Shooting in RAW compensates for a multitude of sins. I reduced the exposure by 1.10 stop without losing any detail in the final image.

So, what did I learn from this experience? First, it is critical to be equipped for any lighting situation. The speedlights gave me more shooting options. When the ambient, natural light was at my back, I could simply switch off the radio triggers. When shooting toward the window wall and into the light, I could switch on the triggers and use the speedlights to illuminate my subject. Second, using down time (I chose to forego lunch) to make the wide angle photo of the luncheon paid huge dividends. With the speedlights already set up, it only took me a minute to power them back on and adjust their intensity. As a result, I was able to very quickly adapt to a new shooting location and a different lighting environment. I only missed photographing one award presentation during the ceremony and was able to make that up as soon as the ceremony ended.

Finally, I should have taken the time to better arrange the group shot and do test exposures on the outdoor terrace. This would have taken only a few minutes, but would have resulted in better images and saved some worry on the drive home. Shooting in RAW allowed me to recover all the detail that was lost in the original, overexposed photographs. If I had taken the time to properly arrange the group photo and to adjust my exposure settings, those original RAW files would have been better exposed and nobody would have been in shadow.

A celebratory embrace during the National Philanthropy Day event at Prescott Resort (Bill Ferris Photography)

I was also reminded of the joy of giving. As each presenter shared the story of their respective honoree, I was so impressed by the generosity and compassion of the human spirit. Each award recipient had generously given their time, talent or treasure in support of a non-profit organization or cause. Attending this event and hearing these stories, I was reminded that the simple act of giving often delivers the greatest personal rewards.

Now, get out there and shoot.

Bill Ferris | November 2014

Anticipation

NAU quarterback Chase Cartwright releases a pass toward receiver Ify Umodu. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 200mm f/2.8, ISO 4500, 1/1000-second. (Bill Ferris)

Sports photography is one of those disciplines where there is just no getting around the fact that the gear you need to consistently make great photos is expensive. Scan the sidelines at an NFL game and you’ll find twenty or more photographers. Each brings at least two camera bodies and numerous lenses to the game. Many will be shooting either the Canon 1DX or a Nikon D4s. The two most common lenses are long, fast telephotos: 300mm f/2.8 and 400mm f/2.8. If some conniving super thief were to devise a scheme to steal all that gear, they’d easily walk away with over $1 million in kit.

Why is sports photography so expensive? It all boils down to one thing: speed. The sports photographer needs a fast camera and fast lenses. The top Canon and Nikon professional camera bodies have burst rates in excess of 10 frames per second. In a profession where the job is to capture the defining moment and where the players have world-class size, strength and speed, the difference a tenth of a second can make is astounding. In that brief instant, a player can go from diving for the goal line to fumbling the football. The sports photographer needs a camera capable of capturing that moment.

Because of the speed at which the game is played, a sports photographer needs to use very short exposures to freeze the action. Yes, there are situations where a slow shutter speed can allow you to make an image that perfectly captures the astounding pace of the action. But in most circumstances, the objective is to freeze action. Exposures of 1/1000-second or faster are commonplace. To shoot at 1/1000-second, you need lenses that collect available light in big, slurping gulps.

A 400mm f/2.8 lens drinks light with gusto. It focuses in a blink and follows focus even as the player with the ball is doing everything possible to elude both you and the other team. It also delivers images having a very shallow depth of field. The subject is sharply focused but the background has a pleasing, soft creaminess. This creates separation between the subject and background, making for a better photo.

To shoot at 1/1000-second in an indoor stadium or at night, you need a camera body that makes great images with a minimum of light. To accomplish this demanding task, your camera sensor needs to make clean images at ISO’s of 4000 or higher. While the lighting at professional venues is typically pretty good, the light level at a collegiate venue is often much lower. The light levels at high school football stadiums makes you wonder how the players can find the end zone without using a flashlight. There is no escape from this. If you use longer exposures to allow the sensor time to collect more light at a lower ISO, the athletes will be blurred and the detail lost. Even indoors or at night, the sports photographer needs speed.

This level of performance is unavoidable and it’s not cheap. Are you familiar with the old phrase, “Cheap, fast and good; pick any two.” In sports photography, there is no such thing as cheap…not if you want to make great images.

Having the right equipment is only the start. The most critical tool available to the sports photographer is something that cannot be bought. That critical tool is knowledge and there is no substitute. If you know the game, you have the ability to anticipate where the next play is going. If you can anticipate where the next play is going, you have the opportunity to position yourself, to focus on the right athlete or place on the field and to be there ahead of all the other photographers to capture the decisive moment in the contest.

NAU running back Casey Jahn looks to turn a run north-south. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 200mm, f/2.8, ISO 3600, 1/1000-second. (Bill Ferris)

I recently had the opportunity to photograph my first NCAA football game. I’ve been a sports fan – particularly football – most of my life and have been working professionally in televised sports coverage for 25 years. In other words, I know the sport and I know what makes for a great sports image.

My photographic equipment can be accurately described as pro-sumer. I shoot with a Nikon D610 digital SLR camera body. Nikon classifies this as an Enthusiast level camera. The 24 megapixel full-frame sensor is among the best available in any digital camera. I’ve shot with it at ISO 6400 and been very pleased with the quality of the images. The 39-point auto focus system is good – not great, just good – and the burst rate is a respectable 6 frames per second. The buffer allows me to shoot at continuous high burst for 2-3 seconds before the camera will start choking on new image files.

Like most of you, I’m on a budget. So, when I made the move to full-frame, I went with third party lenses to maximize both performance and value. The Tamron line of f/2.8 Di VC USD lenses deliver both. I am primarily a landscape photographer who does occasional portraiture. The Tamron glass gives me a range of focal lengths and apertures that meet the needs of both disciplines. Best of all, they deliver excellent image quality at a fraction of the cost of the equivalent Nikon lenses.

I used the Tamron 70-200 f/2.8 Di VC USD zoom with my Nikon D610 body to shoot the football game. The D610 was set to aperture priority and I shot at f/2.8 throughout the game. I also used the D610’s auto-ISO feature to configure the camera to use a 1/1000-second shutter speed and choose the ISO that would allow for the proper exposure. Auto focus was set to AF-C (continuous servo), with 9 central auto focus points selected. I did experiment a bit with offsetting the auto focus points to the left or right (top or bottom when shooting in portrait aspect) but invariably came back to the central auto focus point. I also experimented with the D610’s continuous focus lock setting, ultimately choosing a setting that is slightly more responsive to motion than the default configuration.

The first decision I had to make was where to position myself for the opening kickoff and first offensive series of the game. Now, I am an NAU employee and support my Lumberjack sports teams. That said, Eastern Washington entered the game as the 2nd-ranked team in FCS football. They were 7-1 on the season with their only loss being a 52-59 decision against the Washington Huskies. To be perfectly candid, I expected the Eagles to put up a lot of points against NAU so, I set up at the end of the field where they would be scoring. This decision paid off as Eastern Washington’s first touchdown of the game was scored at that end. Unfortunately, while reviewing the shots I’d made of the play, I realized a corridor labelled, RESTROOMS, was the prominent background element in the images. Note to self: always be aware of your background.

As the 1st quarter progressed, it was clear that NAU had come to play. They weren’t intimidated by Eastern Washington and were gradually building momentum. So when the end of the quarter arrived, I decided to stay at the south end of the field to be in position to capture a Lumberjack touchdown. That proved to be the right decision as, early in the 2nd quarter, NAU quarterback Chase Cartwright hit receiver Beau Gardner in the end zone for the Jacks’ first touchdown of the day. For that score, I was positioned to photograph the celebration with NAU cheerleaders and fans in the background.

Eastern Washington’s Cooper Kupp skies over NAU defender Marcus Alford to score a touchdown. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 90mm, f/2.8, ISO 4500, 1/1000-second. (Bill Ferris)

The Eagles blocked the extra point attempt and the two teams battled to a standstill for the next 8:00 as Eastern Washington held a narrow, 7-6, lead. Sensing that the Eagles were slowly reclaiming the momentum, I hustled to the north end zone to position myself for a possible Eastern Washington score. My instincts paid off as Cooper Kupp found the land of milk and honey on a 14-yard pass from Jordan West. I was positioned at the back corner of the end zone and had a great view of Kupp leaping over the pylon for the score. NAU battled back, scoring two field goals in the final 5:00 of the 2nd quarter to cut the EWU lead to, 14-12. Recognizing the shift in momentum, I moved to the south end of the field and made some nice photographs of Northern Arizona’s final drive of the half.

During halftime, I weighed the question of which team would come out of the locker room having made the correct adjustments. I gambled on NAU and set up at the north end zone. Almost immediately, I was questioning the decision as Eastern Washington marched right down the field. But the Jacks held them to a field goal and, on their next possession, Northern Arizona quarterback Chase Cartwright led the team on a drive that culminated on a 1st & goal from the 3-yard line. Seeing receiver Ify Umodu breaking out to my side of the field, I rolled the dice again, isolating on Umodu on the next play.

As a result, I completely missed a touchdown pass to NAU’s Alex Holmes. In hindsight, I should have continued employing the technique that had been working throughout the day of focusing on the quarterback, reading his body language after the snap and breaking for the receiver on the throw. I also decided I had been over thinking the game since the start of the half. So, I returned to a mode of trusting my gut instinct on where to go for the next series and then being smart about following the development of the play.

NAU’s Eddie Horn grabs a handful of facemask to prevent Eastern Washington’s Quincy Forte from reaching the end zone. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 112mm, f/2.8, ISO 5600, 1/1000-second. (Bill Ferris)

This strategy paid off on EWU’s next possession. I had gone back to the other end of the field, setting up on the Eastern Washington side. Running back Quincy Forte powered his way to the 1-yard line before being tackled by the face mask. I had a perfect angle on and view of the face mask tackle. On the very next play, Forte forced his way into the end zone right in front of me.

Eastern Washington had a 24-19 lead and the teams battled back-and-forth, trading field goals over the next 15-minutes. It was during the 2nd half that I identified the spot where I wanted to be when the game ended. The location offered two great options for backgrounds. One, was the NAU bench on the opposite side of the field. The other option was the NAU cheerleading squad along the back of the south end zone. Either would make a perfect background, if the Jacks were able to score a late touchdown to win the game.

When the Eagles took possession of the ball with 4:37 on the clock, I sensed a game-clinching score coming and worked my way through the EWU bench to the north end of the field. Facing a 4th & 4 at the Northern Arizona 23 yard line, Eastern Washington burned two timeouts in succession before going for it. A conversion would have allowed the Eagles to run out the clock but Jordan West’s pass to Cooper Kupp fell incomplete.

The final seconds were setting up exactly as I’d hoped: Northern Arizona had the ball on their own 23 with no timeouts and :47 left on the clock. They needed a touchdown and would have to be aggressive in their play-calling. So, I hustled back to my spot at the south end zone and waited for the magic to happen.

With 12-seconds left in regulation, NAU’s Dan Galindo hauls in a Jordan Perry pass to score the game-winning touchdown. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 70mm, f/2.8, ISO 8063 (Hi 0.3), 1/1000-second. (Bill Ferris)

On NAU’s second play, backup quarterback Jordan Perry completed a toss to Alex Holmes who sprinted 54 yards before going out of bounds at the Eastern Washington 20 yard line. On the next play, Perry took the snap and immediately looked to his left and my side of the end zone. As he cocked his arm and released the ball, I instinctively panned to pick up true freshman Dan Galindo breaking open across the goal line. Galindo was right in front of me as he cradled the ball, rolled across the turf and sprang up in celebration. With :12 left in the game, Galindo had just scored the go-ahead touchdown.

A huge celebration ensued as Galindo was surrounded by teammates. Team mascot, Louie the Lumberjack, even joined in. Cheerleaders and fans were frantic with joy. The Skydome was filled with the roar of fans who knew they were witness to something very special. Northern Arizona was about to defeat the number two team in the country. But there was more work to be done. NAU went for a 2-point conversion and failed. They squib kicked on the kickoff and Eastern Washington’s offense took the field with just :07 remaining. Their final desperation play ended when NAU defensive back Darius Lewis intercepted a backwards lateral and ran with the ball until time expired.

I immediately ran onto the field to capture the bedlam and ecstasy of the win. After making a few exposures with the 70-200, I ran over to my camera bag to exchange the telephoto zoom for the Nikon 16-35mm f/4 VR. I used this wide angle zoom to document the post-game celebration.

Jerome Souers, acknowledges the crowd after the comeback win versus Eastern Washington. Photograph made with Nikon D610, Nikon 16-35mm f/4 VR at 30mm, f/4, ISO 5000, 1/1000-second. (Bill Ferris)

In hindsight, there are two lessons I took from this experience. The first is the importance of knowing the sport you’re shooting. Understanding the game and having the ability to anticipate what will happen next are critical to getting great photos. This is particularly true if you are limited to shooting with a relatively short focal length. (200mm is pretty short for football and other outdoor sports.) The second lesson is the value of choosing a location that allows you the opportunity to make a great photograph. Envision the scenario you would like to capture, go to the best spot for capturing that moment and allow the game to come to you. Of course, there is no guarantee things will play out as you want. That’s where your talent as a photographer comes into play. You’re there to document the event as it happens so, do your best with the cards you’re dealt.

Whatever your sport, whatever your photographic passion, today is a new day. It’s time to get out and shoot.

Bill Ferris | October 2014

Vibration Compensation

AFP sign photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8 with Vibration Compensation engaged. (B. Ferris)

In the Nikon universe, it is referred to as vibration reduction. In Canon parlance, it is called image stabilization. In other worlds, it is referred to as vibration compensation. However you say it, the ability of modern lenses and cameras to compensate for the inherent shakiness of hand-holding your camera to make a photograph has been a significant and positive development in the art form of digital imaging.

To take a closer look at and better understand vibration compensation technology, I decided to set up a test. I used my Nikon D610 camera and a Tamron 70-200 Di VC USD zoom lens to make a series of photographs. The photographs ranged in exposure length from 1/25-second to 1/4000-second. I made at least two exposures at each length, one with the Tamron lens’s vibration compensation engaged and active, and the other with vibration compensation disengaged. For exposures between 1/100-second and 1/2000-second, I made two sets of exposures with VC engaged and disengaged.

I chose a yard sign as the photo subject. The sign features bold lettering against an off-white plastic surface. I set up the sign in my garage in the shade so it would be illuminated by a soft, even and constant light level. I then set up a folding camp chair in the driveway about six feet from the sign. With the Tamron lens set to 200mm, I began making exposures.

I used the camera’s auto ISO setting to make the exposures from 1/100-second to 1/2000-second, first. With the D610 in aperture priority, I would set the minimum shutter speed at the desired exposure length. Then, I would adjust aperture until the camera would select an ISO that would produce an exposure of the desired length. The D610 will not make an exposure shorter than 1/2000-second in auto ISO so, I put the camera in manual mode to make the exposures at 1/4000-second. Here, are the settings used to make each shot:

1/25-second: Two exposures, one with VC on and the other with VC off. Both at ISO 100, f/25
1/40-second: Two exposures, one with VC on and the other with VC off. Both at ISO 110, f/20
1/100-second: Four exposures, two with VC on and two with VC off. Two at ISO 125, f/11. Two at ISO 100, f/11
1/200-second: Four exposures, two with VC on and two with VC off. Two at ISO 125, f/8. One at ISO 200, f/11. One at ISO 220, f/11
1/400-second: Four exposures, two with VC on and two with VC off. Two at ISO 250, f/8. One at ISO 160, f8. One at ISO 100, f/8
1/800-second: Four exposures, two with VC on and two with VC off. Two at ISO 250, f/5.6. One at ISO 140, f/5.6. One at ISO 110, f/5.6
1/1000-second: Four exposures, two with VC on and two with VC off. Two at ISO 320, f/5.6. One at ISO 160, f/5.6. One at ISO 120, f/5.6
1/1250-second: Four exposures, two with VC on and two with VC off. Two at ISO 400, f/5.6. Two at ISO 200, f/5.6.
1/1600-second: Four exposures, two with VC on and two with VC off. Two at ISO 500, f/5.6. One at ISO 220, f/5.6. One at ISO 250, f/5.6
1/2000-second: Four exposures, two with VC on and two with VC off. Two at ISO 640, f/5.6. One at ISO 280, f/5.6. One at ISO 320, f/5.6
1/4000-second: Two exposures, one with VC on and the other with VC off. One at ISO 640, f/5.6. One at ISO 500, f/5.6

I performed the test for several reasons. One, was to see for myself the extent to which vibration compensation delivers sharper, more detailed images than those made with without VC. Also, I wanted to test a couple of assertions made by photographers who don’t use vibration compensation when shooting at fast exposure rates – 1/1000 to 1/1600 or faster. The usual thinking is that VC offers no benefits at such fast exposures. Some even claim that VC introduces blur when engaged at fast exposure rates.

The results of the above test do not support either claim, not in the least. At all exposures, the images made with vibration compensation turned on appeared sharper and more detailed than those made with VC disabled. Even the VC-engaged image made at 1/4000-second was noticeably sharper than the strictly handheld image made at the same rate. Below, are 100% crops of several exposures. They are JPEG conversions from unprocessed RAW files:

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8, ISO 125, 1/200 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8, ISO 125, 1/200 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 160, 1/1000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 140, 1/1000 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 280, 1/2000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 320, 1/2000 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 640, 1/4000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 500, 1/4000 with Vibration Compensation off.

Based on the results from this test, I am persuaded to keep vibration compensation engaged whenever shooting handheld and regardless of the length of the exposure. Doing so will not introduce blur or distortion and will probably result in a sharper, more detailed photograph.

But don’t take my word for it. See for yourself. Get out and shoot.

Bill Ferris | October 2014

Nikon D750 – Let the Stoning Begin

The Nikon D750 (image used courtesy of Nikon USA)

In photography as in life, it sometimes seems no good piece of kit goes unpunished. In 2012 as the world imaging community prepared to descend upon Cologne, Germany for the biennial imaging fair known as Photokina, the two leading manufacturers of consumer and professional digital cameras introduced major new products. About a week before the fair Nikon introduced the D600. Days later, Canon introduced the EOS 6D. Marketed as entry level full-frame CMOS sensor bodies, the D600 and 6D were intended to attract enthusiasts and crop-frame camera users to make the move into full-frame. The D600 joined Nikon’s flagship D4 and professional D800 and D800e in the FX category of full-frame DSLR bodies. Canon’s flagship 1DX and professional 5DMkIII welcomed the EOS 6D in completing that full-frame lineup.

Fast forward to the present day and, as the 2014 edition of Photokina opens, Canon has not introduced a new full-frame body since 2012. By contrast, Nikon has introduced four new FX (full-frame) DSLR cameras, including the just announced D750. The D750 features an impressive spec sheet:

An all-new 24.3 MP CMOS sensor
Nikon’s most advanced 51-point auto focus system (incl. group area AF)
Nikon’s flagship Expeed 4 image processor
Native ISO range of 100 to 12,800 (expandable to ISO 50 and 51,200)
Full 1080p/60 HD video (incl. auto aperture/auto ISO smooth adjust)
Light but strong carbon fiber and magnesium alloy frame
Nikon’s first FX body to feature built-in WiFi
The first full-frame DSLR by any manufacturer to sport an articulating rear LCD screen

The Nikon D750 features an articulating rear LCD screen (image used courtesy of Nikon USA)

The response to the D750 on the InterWeb has been immediate and impassioned. Much of the response has been intensely negative. Peruse the popular rumor and fan boy sites, and you will likely see comments such as – Another toy camera from Nikon…It’s disappointing…This is an instant fail IMO…This sucks.

So, why all the venom directed toward a camera that, on paper, makes a strong case for being the best all-around DSLR on the planet? To understand, we need to go back in time to another Photokina summer. In July 2008, Nikon introduced the D700, a professional full-frame DSLR body. It was just the second FX body developed and released by Nikon and was packaged with many of the performance specs of the flagship D3. The D700 featured the same sensor as the D3, a rugged frame, similar controls and layout as the top line pro body and a burst rate that, when paired with Nikon’s battery grip, topped out at an impressive eight frames per second. D3 shooters bought the D700 as their backup body and many pros bought the D700 as their primary body. Adding the rugged crop sensor (DX format) D300 to the mix gave Nikon a trio of professional bodies to meet the needs of dedicated still photographers,

In digital photography, the lifespan of a flagship body generally runs between two and four years. Canon unveiled the EOS 1DX in October 2011. This body replaced the EOS 1DsMkIII (2007) and was a shot across the bow of the long-in-the-tooth Nikon D3. Thus, it was not at all surprising when Nikon announced the all-new 16 MP D4 in January 2012. The D4 replaced the D3 and immediately established itself as a worthy adversary to the 1DX. With the D4’s release, D700 and D300/D300s shooters waited for the next shoe to drop. Which would it be, a replacement for the D700 or the D300?

One month later in February 2012, Nikon announced the D800 and D800e. Previously, Nikon had built a reputation of developing low megapixel (relative to Canon) pro bodies that excelled in low light. With the 36 MP D800 and D800e, Nikon more than doubled the resolution of the Flagship D4. These bodies quickly became favorites of landscape and portrait photographers. However, loyal D700 shooters were left wanting more. While the D700 could make images at an impressive 8 FPS, the D800/D800e barely made 4 FPS. What they wanted was the D4’s sensor, Expeed 3 processor and auto focus system in a D800 body.

An overhead view of the Nikon D750 (image used courtesy of Nikon USA)

By mid-2012, the Web was abuzz with talk of a D700 replacement being announced at the next Photokina. When the D600 emerged as Nikon’s major announcement in Cologne, D700 fans were not pleased. Despite its 24 MP (two-times the D700’s resolution) CMOS sensor, superior low light performance and 1080p video recording capability, the D600 was missing several key features in the eyes of D700 loyalists.

No professional build quality. The D600 offered weather resistance but didn’t have the D800’s rugged full magnesium alloy frame.
No 51-point auto focus system. The D600 inherited the D7000’s 39-point AF system.
Not a pro layout. The controls and menus were designed to be familiar to D90 and D7000 shooters.
No 1/8000-second shutter speed. The D600 peaked at 1/4000-second.
No 1/250-second flash sync speed. The D600 peaked at 1/200-second.
No 8 frame per second burst rate. the D600 peaked at 6 frames per second.

What D700 owners had asked for was a D4 imaging system in a D800 body. What the D600 offered was basically an FX version of the consumer D7000. What was Nikon thinking? Well, they may have been focused on costs and customer retention. In business, one of the keys to maximizing profit is to reduce operational costs. The rugged, pro-build quality of the D4 and D800 bodies were more expensive to produce than the consumer quality D7000. While a hypothetical D700 replacement would need to be manufactured in Japan at greater expense and narrower margin, the D600 could be manufactured in Thailand at lower cost and a higher profit margin.

Another factor Nikon must have considered was the migration of point & shoot photographers to smart phones. The rise of the smart phone had given the general public a take everywhere camera with immediate access to Facebook and Twitter where they could share photos with family and friends. Point & shoot camera sales were in free fall in 2012 and Nikon must have been concerned this trend would eventually hit the crop sensor market. Rather than invest in a format they considered to have a questionable future, Nikon chose to entice enthusiast and crop sensor photographers to upgrade to full frame. The D600 was priced at 1/2 to 1/3 the cost of Nikon’s professional FX bodies yet delivered comparable image quality. Yes, the D4 was better in low light and, yes, the D800 delivered higher resolution, but the D600 was no slouch. It offered comparable performance at a consumer price…or so it seemed.

Soon after D600 bodies started shipping. Reports surfaced on the web of oil and dust particle build up on the camera’s CMOS sensor. One D600 owner produced a time lapse video showing an accumulation of debris and oil that would choke a horse. Nikon had a problem. Their gift offering to enthusiast photographers was turning out to be a Trojan horse. However, Nikon refused to acknowledge what the reports and evidence clearly indicated – the D600 shutter mechanism had a problem. Nikon’s failure to immediately address the problem would allow it to grow into a major public relations disaster that deeply tarnished the company’s reputation as a manufacturer of quality imaging products.

In February 2013, Nikon finally issued a service advisory on the D600. The advisory offered guidance on the correct procedure to use when removing the natural accumulation of dust from a sensor. In essence, Nikon was dismissing the reports as normal dust accumulation. Meanwhile, D600 owners continued to report problems with their cameras and the impact on sales was immediate. When the camera was first introduced in September 2012, a launch price of $2,097 had been set. By November, Nikon was offering instant $100 rebates on their new body. By Christmas, customers were offered a free 24-85mm lens with the purchase of a D600. In January 2013, grey market distributors were pricing the D600 at $1,686. In May, a factory refurbished D600 was priced at $1,560. The camera’s value was in rapid decline and its reputation as a product that had been rushed to market too soon was forever sealed.

In October 2013 – only a year after the first D600 bodies shipped – Nikon introduced the D610. It was announced as a minor upgrade to the D600 but everyone knew it was an attempt to bring and end to the dust and oil disaster. The move backfired. If anything, Nikon’s decision to reissue the D600 with a new shutter mechanism was seen as tacit admission that the dust and oil problems were real. In February 2014, Nikon issued a service advisory to D600 owners offering a free inspection, cleaning and shutter assembly replacement, regardless of the warranty status of their cameras. In March, China ordered Nikon to stop selling the D600. This was followed soon after by a third service advisory that mentioned the option of, on a case-by-case basis, replacing defective D600s with D610s. In August, Nikon reached a settlement in a class action lawsuit with D600 owners. As part of the settlement, litigants were offered new D610s in exchange for their D600s.

To date, Nikon has yet to publicly acknowledge and take responsibility for delivering a camera with a poorly designed shutter mechanism that allows the accumulation of dust, debris and oil on the sensor.

A view of the Nikon D750 interior reflex mirror system (image used courtesy of Nikon USA)

To fully appreciate the damage the D600 dust and oil debacle has done to Nikon’s reputation, consider that DxO Mark tested the D600 soon after its initial release and ranked it as the third-best digital camera sensor on the market. This should have been a time of celebration, with Nikon reaping the rewards of having delivered an outstanding entry level full-frame DSLR camera. Instead, they spent a year in denial and are still in damage control. Even the D610, which by all accounts does not suffer from the dust and oil issue of the D600, has not been able to distance itself from that long, dark shadow.

Which brings us back to the just-announced Nikon D750. In early August when Nikon Rumors announced Nikon’s plan to introduce a new full-frame body at Photokina, the early reports described it as an action camera. Then, came the rumor that the new DSLR would be called the D750. This generated an immediate buzz as people made the obvious connection to the dream of a long-awaited successor to the D700. The online comments quickly focused on the wants of D700 owners: professional build quality, fast and accurate auto focus and a lightning quick burst rate. A D4s sensor in a D810 body is what D700 owners had come to expect.

That is not the D750.

Nikon markets their DSLR cameras in three categories: Entry-level, Enthusiast and Professional. The D750 is Nikon’s top Enthusiast level DSLR camera. Nikon does not market the D750 as a professional camera body. It is not the D4s sensor in a D810 body. Neither is it, as the many critics have claimed, a souped up D610 sensor in a D610 body. And this, friends, is where the D750 story gets interesting. One could fairly describe this camera as a cross over. It borrows features from all digital camera categories.

The D750’s outward appearance is almost identical to the D610. Beneath that enthusiast level surface, lies a completely new animal. The frame is a magnesium alloy, carbon fiber blend resulting in a rugged, weather resistant and relatively lightweight body. The layout of the interior components is completely new for Nikon. This internal redesign created space for fully-integrated WiFi while substantially reducing the size and weight of the camera body. WiFi is pretty standard stuff in consumer bodies. Small size and low weight are definitive qualities of mirrorless cameras. Rugged build and weather resistance are qualities that define professional DSLR bodies.

A side view of the Nikon D750 showing the articulating rear LCD screen (image used courtesy of Nikon USA)

The Expeed 4 processor and 51-point AF system are taken straight from Nikon’s flagship D4s and professional D810. Other features borrowed from Nikon’s professional lineup include full 1080p/60 HD video, auto aperture and auto ISO during video recording, and an industry-leading focus detection range of -3 to +19 EV. The articulated rear LCD is another feature taken from their consumer line of camera bodies. Performance characteristics shared with the enthusiast level D610 include a 1/4000-second maximum shutter speed and a 1/200-second flash sync speed.

In the D750, Nikon has delivered a camera designed and intended to appeal to a broad audience. In so doing, they’ve made a camera that – while incorporating features from several genres – is impossible to peg into any one category. The 24 MP sensor is among the best available…but it’s not the D810’s 36 MP sensor. The 6.5 frame per second burst rate is among the fastest in the market…but it’s not as fast as the 1DX or the D4s. (or the D700) The 1080p/60 HD video recording capability is very good…but it’s not 4K. The build quality is rugged and weather resistant…but it’s not weather proof. It’s impressive feature set is packed into a small, lightweight body…but it’s not mirrorless small.

In a nutshell, the D750 seems to be a Jack of all trades and a master of none. There is, perhaps, one exception. Could the D750 be the master do-it-all camera?

If you enjoy shooting sports, the AF system and burst rate will more than get the job done. In the professional full-frame DSLR category, only the Canon 1DX and Nikon D4/D4s have faster burst rates. If you enjoy portraiture and landscapes, the 24 MP sensor will deliver gorgeous, detailed images. Only Nikon’s D8XX lineup offers higher resolution. On paper, no DSLR does a better job of achieving focus in low light and the high ISO performance of the D750 is among the best in the market. If you enjoy shooting video, the D750 allows production in full HD with stereo audio. The dedicated video professional may be better served by the Panasonic Lumix GH4 or the Sony A7s. However, the D750 offers video functionality that is more than adequate for the enthusiast.

In short, the Nikon D750 looks for all the world like one of the best – arguably the best – choice as the camera that can do it all. If you are a professional photographer looking for a second body, wouldn’t it be nice to replace your current backup with something that is a little smaller and lighter? Something with outstanding resolution and low light performance? A camera with industry-leading auto focus? A camera you can use to capture quality video and sound? A backup body that does all this at a price point below $2,500? If you are an aspiring professional looking for one body that can take on any assignment (or an enthusiast seeking the same) does the D750 look like the perfect all-around performer? This is a camera body that, on paper, appears capable of shooting anything: editorial, sports, wedding, landscape, portraiture, wildlife, street, video…you name it.

Is the new Nikon D750 the best all-around DSLR camera in the world?

Bill Ferris | September 2014

What’s Old is New Again

Featuring old school design and a premium full-frame digital sensor, will the Nikon Df bolster sales for a leading manufacturer of consumer and professional cameras? (Photo used courtesy Nikon USA)

Nikon has gone retro. With the introduction in November 2013 of the Df, Nikon hopes to recapture a level of dominance in high end consumer and professional photography the camera manufacturer enjoyed during the 1970’s. Nikon revolutionized 35mm photography in 1959 with its introduction of the Nikon F. The F was Nikon’s first single lens reflex (SLR) camera body and the first camera body to incorporate a host of new technologies in one compact frame. Strong sales launched Nikon to the top of the 35mm pyramid, a position it enjoyed well into the 1970’s. Nikon F, F2 and F3 bodies were standard issue gear for photojournalists, and set a high bar for both quality and durability in the industry.

Nikon’s position as king of the 35mm SLR hill was challenged in 1975 when Canon introduced new autoexposure technology in its consumer model, AE-1 body. Canon’s rise continued in 1978 with the introduction of the A-1. This body’s programmed autoexposure technology and other advanced features made it an instant best-seller. Advances in autofocus technology dominated the next ten years, culminating with Canon’s introduction in 1987 of the EOS system. EOS autofocus technology was a huge step forward; so significant that professional photographers (including many Nikon shooters) began selling their gear and making the transition to the Canon EOS system. This transformation rocketed Canon to the top of the 35mm SLR camera manufacturer mountain. In many respects, Nikon has been playing catch up, ever since.

Nikon and Canon have been trading blows, so to speak, since the beginning of the digital revolution. While Canon remains the leader in worldwide digital SLR (DSLR) sales, Nikon’s D3 and D4 camera bodies had earned reputations as being the best low-light 35mm bodies available. Canon’s 1D-X and 5D-MkIII bodies have since countered that challenge. Nikon chose a slightly different tack in 2012 with its introduction of the 36 megapixel (MP) D800. Since 2008, the introduction of a host of new capabilities (video), technologies (mirrorless) and platforms (smart phones) have generated significant uncertainty as to digital photography’s future.

Nikon Df, a 16 MP, full-frame DSLR featuring old school design cues. (Photo used courtesy Nikon USA)

Perhaps, this is why Nikon looked to the past for inspiration in the development of its latest full-frame DSLR, the retro Df. Featuring design elements reminiscent of vintage F-series bodies and the D4’s acclaimed 16 MP sensor, the Df delivers the latest in digital imaging technology in an old school package. The photographic community’s early response has been, shall we say, mixed. For those who, like me, cut their teeth in photography shooting 35mm film cameras, the Df harkens back to a time when we were falling in love with the art form. My first camera was a 1980’s vintage Nikon F3. I bought it, used, and immediately fell in love with the feel of the body in my hands and the intuitive layout of controls.

Viewed from above, the Nikon Df's layout of retro dials is a clear homage to the F-series bodies of 1970's.

Viewed from above, the Nikon Df’s layout of retro dials and controls is a clear homage to the F-series bodies of 1970’s. (Photo used courtesy Nikon USA)

If the Df reminds you of your first camera and stirs fond memories, you are not alone. Nikon has made a bold move developing a modern DSLR packaged in classic wrapping. Marketing a professional quality camera based on its design and outward appearance is a first for Nikon. In hindsight, it’s a wonder they didn’t employ this strategy, sooner. Products have been successfully marketed according to aesthetic appearance since the beginning of time. But photography is a hobby and profession driven by advances in technology. The history of Nikon’s rise to prominence and Canon’s subsequent ascension clearly illustrates this. So, while the outward appearance of the Df can be seen as a bold–and potentially brilliant– move by Nikon, the key to this camera’s success will be its performance. If the Df packages great performance in a retro body style that sparks the imagination, it will be a hit. If performance is seen as inadequate, the Df will flop. Let’s take a look under the hood to see what this baby can do:

16.2 megapixel full-frame CMOS sensor (same as D4)
EXPEED 3 Image processing engine (same as D4)
Native ISO range: 100 to 12,800
Expanded ISO range: 50 to 204,800
5.5 frames per second (fps) burst rate
39 autofocus points
100% coverage optical viewfinder
3.2-inch LCD (921K)
Magnesium alloy top, back and bottom panels
Shutter Speed: 30-second (min.) to 1/4000-second (max.)
Flash Sync Speed: 1/200-second
Lens Compatibility: Compatible with AI and non-AI Nikon F-mount lenses

With this new emphasis on retro design and appeal, Nikon has also trimmed the fat, so to speak, removing functionality purest photographers sometimes criticize as superfluous:

No video recording capability
No built-in flash
No large, top panel LCD display

If you look just at the specifications, it’s hard to decide exactly where the Df fits in Nikon’s line of full-frame bodies. In terms of resolution, it joins the D4 as featuring the second-lowest megapixel sensor in the full-frame line-up. The D800E and D800 top the list with 36 MP sensors, next comes the D3x with 24.5 MP resolution, then the D600 and D610 at 24.3 MP, the D4 and Df with 16 MP sensors and, finally, the D3s at 12.1 MP. However, while the D4 boasts a cheetah-like 11 frames per second (fps) burst rate, unsurpassed build quality, 51-point autofocus, 1/8000-second shutter speed, 1/250-second flash sync speed, HD video recording and outstanding high ISO performance, the Df offers only the same low light performance.

The distinctly modern rear panel, controls and viewfinder of the Nikon Df DSLR. (Photo used courtesy Nikon USA)

The D4 is Nikon’s flagship full-frame DSLR and nobody questions this standing. Where does the Df fall within that spectrum? On paper, one can make the case that the D800E and D800 should rank ahead of the Df. Similar cases can be made that the D600 and D610 are at least the equal (if not slightly superior) to the Df. But from a pricing standpoint, Nikon seems to believe the Df ranks right up there with the D800-series bodies. Here, are prices for all five (as of 11/09/13) bodies:

D800E: $2,996.95 (new)
D800: $2,796.95 (new)
Df: $2,746.95 (new)
D610: $1,996.95 (new)
D600: $1,499.00 (refurbished)

For an additional $50, the prospective Df customer can get a 36 megapixel D800, HD video recording, 51-point autofocus, built-in flash, 1/8000-second shutter rate, 1/250 flash sync speed, a CF card slot, expanded bracketing (up to 9 frames) and two additional stops of exposure compensation. At $750 less than the Df, the D610 offers 24 MP resolution, HD video recording, a second SD card slot, a slightly improved (though, arguably irrelevant) 6 fps burst rate, and equivalent performance in autofocus, viewfinder coverage, shutter speed, flash sync speed, and rear panel LCD. And if you’re willing to accept the risk of getting a body that needs regular sensor cleanings, a refurbished D600 can still be had for an incredible $1,499. That’s a bit more than half the price of the Df.

A customer sits lost in thought at the Rendevous in the Hotel Monte Vista in historic downtown Flagstaff. Shot with Nikon D600 and Tamron 24-70 at ISO 3200, 70mm, f/2.8, 1/60-second

A customer sits lost in thought at the Rendevous in the Hotel Monte Vista in historic downtown Flagstaff. This image was made with the Nikon D600 body and Tamron 24-70 Di VC USD lens. The exposure was made at ISO 3200, 70mm, f/2.8, 1/60-second. (Bill Ferris)

What does the Df offer by way of compensation for your willingness to part with about $2,750 US? Some would argue its improved build quality and high ISO performance separate the Df from the D610. However, looking at high ISO comparison images taken with D610 and D4 bodies (The Df features the same sensor and image-processing engine as the D4), the D610 holds its own up to ISO 6400. This begs the question, how often will you need an ISO of 12,800 or higher? In my experience, paired with quality, fast glass, the Nikon D600 and D610 are competent nighttime street photography camera bodies.

This leaves one other factor: style. Don’t get me wrong, I’m not knocking Nikon or its customers for being style-conscious. I’m style-conscious. (My wife would probably disagree.) I buy clothes that, in my opinion, are flattering to my appearance. I drive a vehicle that matches, in its outward appearance, my self-image as a man who enjoys the outdoors. I shoot Nikon, in part, because I enjoy presenting myself as a photographer who uses quality equipment. Understand, I love the ergonomics of Nikon bodies and control layout. And I’ve always been very pleased with the quality of the images my Nikon camera bodies have produced. But if I’m being honest, I have to admit that style is a selling-point with me.

A front view of the Nikon Df, 16 MP, full-frame DSLR with retro styling

So, if I were in the market for a full-frame DSLR body, would the Df be my body of choice? I do like the retro styling. It appeals to me as an homage to what the experience of being a photographer has the potential to be. That said, the Df’s classic styling also reminds me of the reasons I sold my vintage Nikon F3. I sold the F3 to finance the purchase of a Nikon D70, my first digital SLR. It took me about five minutes to embrace digital technology and say, “Good riddance,” to film. Gone forever were the days of not having the correct ISO film in my camera, of having to wait for negatives to be processed to learn if I’d gotten any keepers, and having to be judicious with each and every one of my 36 exposures. The ability to choose ISO on the fly, to instantly review exposures and to spend a week doing a wilderness backpack shooting all 500+ exposures on a single media card instantly sold me on the benefits of digital. Yes, I have fond memories of my old F3, but I have absolutely no desire to relive those days and frustrations.

Which body would I choose? After comparing the performance characteristics of the Df versus Nikon’s other full-frame bodies, I have no doubt what my decision would be. I would do just what I did about six weeks ago; seek out a refurbished D600 body and buy it.

Now, get out and shoot!

Bill Ferris | November 2013

Bill Ferris Photography | Blog

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