Latest Posts

Tilt-shift with full frame DSLRs

After just a short while working with full frame, high resolution DSLRs the need for tilt lenses has really come home to me. Most lenses deliver their best results at fairly wide apertures like f8, it’s easy for detail to begin to look soft and lacking impact if you are forced to stop down to f22 to get everything sharp. Tilt adaptors and tilt lenses solve the problem. This article is repeated here after originally appearing on dPhotoexpert (and similar instrument images, in my first D3X test report for the British Journal).
Continue reading »

Canon EOS 5D MkII, Nikon D3X, and Sony Alpha 900 compared

This set of full size shots was taken with the still life left set up, because the Nikon and Canon cameras were not here at the same time. The report originally appeared in December 2008 on photoclubalpha. It compares the A900, 5DMkII and D3X using the converters supplied by the makers – Image Data Converter SR2, Digital Photo Professional, and Capture NX2. Each small image in the article can be clicked to open a Level 10 quality full size JPEG – beware, the largest is over 13MB of data.

Continue reading »

Exmor 'R' debuts in Handycams

Sony’s new back-illuminated CMOS sensor design makes its first appearance – along with technology borrowed from the Alpha system – in a new HD Handycam video model, the HDR-XR520VE/500VE. Hopefully presaging future DSLR developments, the range also includes models with built-in GPS tracking to record the location of shots as you film.
Continue reading »

Expodisc white balance with the KM Dynax 5D

The custom white balance function on the Konica Minolta Dynax 5D could not be quicker to use; turn the left hand top dial to the custom symbol, press the button in the centre of the dial, press the shutter after aiming the camera at your white or grey target. Custom WB is now set until changed with a new reading, or returned to fixed or Auto WB.
Continue reading »

Sony Alpha 900 and Nikon D3X raw file noise comparison

Like Mike Johnston writing in The On-Line Photographer, I’m aware that any attempt to line up one or more cameras and show comparison images or make judgements is on to a loser from the start. And any webmaster who puts an external link in the first half dozen words of a new post is losing the plot too! But here, for what it’s worth, is the first line-up of results processed using the same software from A900 and D3X uncompressed raw files converted without sharpening or noise reduction.

Continue reading »

Full frame demands inclined planes

After just a short while working with full frame, high resolution DSLRs the need for tilt lenses has really come home to me. Most lenses deliver their best results at fairly wide apertures like f8, it’s easy for detail to begin to look soft and lacking impact if you are forced to stop down to f22 to get everything sharp. Tilt adaptors and tilt lenses solve the problem.

Continue reading »

Canon 5D MkII black dot problem

Much has been written in the past few days about the Canon 5D MkII’s so-called black dot problem, in which pixels to the right (as viewed) of extreme point source highlights appear as black dots. Canon has been asked for explanations; my feeling is that the explanation is already present in the way that the 5D MkII handles the necessary process of sharpening.

5D MkII files I have shot (around 500, I’m not a prolific shooter, before the test camera went back) display a far more aggressive edge sharpening policy than any other DSLR raw file I’ve seen. Combined with a very steep midtone curve – crushing the shadows a fair bit, but not unkind to highlights – this produces some of the sharpest looking images around ‘out of the box’.

But, if that visual acuity is to exist on moderate contrast contours and transitions (dark/light boundaries – the basis for all sharpening) it may be extreme on boundaries between dark midtone and small blown highlight pixels. The directional quality of the black dot problem points to a sharpening artefact, or more accurately an edge enhancement artefact – not to be confused with post-capture or JPEG process sharpening.

If so a firmware fix is possible. It may, in the process, make the 5D MkII images from raw appear a touch softer than they do right now. These ‘black dots’ are certainly not dead pixels, and don’t have much to do with the actual sensels on the CMOS. They are created after the image is read out from the silicon.

I may be wrong, but that’s my prediction – the black dots will prove to be an artefact created by a aggressive contour sharpening policy.

– DK

Studio comparison A900, 5DMkII, D3X

This set of full size shots was taken with the still life left set up, because the Nikon and Canon cameras were not here at the same time. It compares the A900, 5DMkII and D3X using the converters supplied by the makers – Image Data Converter SR2, Digital Photo Professional, and Capture NX2. Each small image in the article can be clicked to open a Level 10 quality full size JPEG – beware, the largest is over 13MB of data.

Continue reading »

Nikon D3X versus Sony Alpha 900 – ISO 1600

Using a light level typical for tungsten light shots at 1600 (1/60th at f8 = 1/500th at f2.8 for action, 1/250th at f4 for concerts etc) I have made a quick first day – D3X arrived this afternoon – comparison which, in the process, also evaluates two lenses (24-120mm VR Nikkor and 28-105mm RS Minolta) and two anti-shake systems. Sadly, my 5DMkII test kit went back on the same City Link van which brought the Nikon kit. Look out for my Nikon review/s in the British Journal of Photography soon.

Nikon image:

http://www.pbase.com/davidkilpatrick/image/106952293

Sony image:

http://www.pbase.com/davidkilpatrick/image/106952572

There are caption notes to each image. The point of targeted focus was the end of the fingerboard with the spattered rosin on it. Feel free to download and print. The red rosin cloth is interesting, so is the sharpness of the point of focus. Clicking on the small images here will open a full size 24 megapixel file in each case!

Ref the exposure difference: these were locked down manual exposures. The Sony does not appear to achieve a true ISO 1600. However, when shooting the same subject using auto exposure, the Sony image is perfectly exposed and the Nikon consistently overexposes. Here, I have set the exposure to the correct density for the Nikon.

– DK

1 42 43 44 45 46 69