Equipment Review: Nikon D2x

August 2005 (Update October 2006)

This extensive review which also includes a comparison of the D2x with 35mm and medium format film is so involved that I have elected to give it it's own page. Please click here to go to the review.

Equipment Review: The Hasselblad 503CW (with the Winder CW)

February 2005

I have been shooting with my Hasselblad 503CW a lot lately and it is such a pleasure to use this camera. The Hasselblad is basically a box with a mirror in it. There is no autofocus, no in-camera metering, and without the Winder CW the ergonomics are sad to say the least. But one look through the viewfinder and all that is lacking is forgotten. Attach the Winder CW, with it’s whopping .8 frames per second, and the camera feels a lot more like a 35mm SLR, albeit a fairly heft one. But of course the Zeiss lenses are the real reason you buy a Hasselblad. Everything about the Hassey exudes quality - it better for the prices they charge!

My basic setup is the 503CW, 80mm f/2.8 Zeiss T*, PM5 prism, Winder CW and a few A12 backs. The Hasselblad system is modular which makes it very easy to switch out components and customize the camera to your needs. And it is all mechanical as well, meaning it needs no batteries save for the winder CW. The shutter is built into the lens and allows you to synch flash at all shutter speeds. It’s a pretty basic camera with a touch of elegance and each camera is hand built in Sweden. The construction quality is second to none. And there is that esoteric "Hasselblad" feel.

The reason to shoot with the Hasselblad is the quality of the medium format images and the incredibly sharp lenses. From my tests the Zeiss lenses are the highest resolving lenses I have ever used. The other reason I chose the Hasselblad is that more digital backs are made for Hasselblad than any other medium format camera system and the 503CW is designed to be digital compatible, so this camera will never be "outdated" as digital backs get better. Hopefully the prices of medium format digital backs will come down out of the stratosphere so I can actually afford to buy one, but for now I can rent a back when clients need high end MF digital. I have seen sample images from Phase One’s latest 22 megapixel back taken with a Hasselblad and they are the best digital images I have seen yet, no DSLR that I have seen can compete with Phase One’s P25. The only problem with that back is that it costs almost $30,000!

The only downside to the Hasselblad is that the focusing is reverse from my Nikons. I’ll just have to get used to it. I really like the square image format, though I have to say it seems small compared to 6x7 images. Compared to the Mamiya 7, focusing with the 503 is much easier. Images snap into focus. All in all there isn’t much to complain about with this camera. It performs flawlessly which is why it has been on every manned US space flight since 1961.

While just about all of the medium format manufacturers these days make very nice cameras, Hasselblad still reigns supreme for it’s amazing lenses and system reliability. For more info on Hasselblad and their products go to hasselbladusa.com.

Equipment Review: Nikon D70

February 2005

Nikon’s D70 is saving their butt! This little pro-sumer camera is pretty amazing in what it offers for the price. Instant start up, top-notch 6 MP image quality, decent auto-focus, and a lightweight ergonomic package. All for about $900. It’s no wonder Popular Photography gave it their "2004 Camera of The Year" award.

I bought the D70 early last year while I was waiting for Nikon to come out with the D2x. And while 6 MP these days isn’t super exciting, this little camera has paid for itself three times over already. My only other option with Nikon last year was the 4 megapixel D2h which wasn’t really that enticing for my clientele. Of course I have been looking over the fence at Canon’s offerings a lot lately, and they have some incredible cameras. But I have so much invested in Nikon, switching systems would be a financial disaster so I am waiting and giving Nikon one more shot. If the D2x is good, I’ll stick around. If not, well then I’ll have to have a long talk with my banker.

But this is a review of the D70 so I will get back to it. First off, the D70 starts up instantly which is a big plus in my book. I hated the older version cameras that took two to three seconds to turn themselves on - that’s five or six missed images. The D70 is also encased in a stout rubberized lightweight body that is a pleasure to hold and carry around. I love having a smaller camera that doesn’t kill my shoulders. I feel like a tourist, save for the huge lenses mounted on the camera. And even though I think pop up flashes are cheese-ball add ons, I have used the D70’s pop up flash with good results. Nikon’s new iTTL flash technology is unbelievable and it is one of the big reasons I am hoping Nikon can pull through with the D2x.

And how about those 6 MP? I have been amazed at how sharp the RAW images are out of the camera. Nikon made the anti-aliasing filter thinner in the D70 and that results in sharper initial images than those of other camera brands. Of course the down side is there is more potential for moiré, but of course that can be dealt with very easily in post processing. The other really nice thing about the D70 sensor is the color accuracy. I usually custom set the white balance when I shoot digital, and that helps but nonetheless I have found the D70 to have incredible color accuracy. And high ISO noise is fairly well controlled which opens up a whole new world of low light photography not possible with film. Even shooting at ISO 800 is not out of the question since I can use Noise Ninja Software and make the images look like they were shot at ASA 200. I would never dream of shooting 800 speed film but digital has rewritten the rules for low light imaging.

I am starting to understand why Nikon has not completely gotten into the megapixel race with Canon. Looking at images shot with 8 MP DSLR’s, they don’t really look that much better than those taken with my D70 and 2 MP isn’t that much of a difference. The 12MP sensor in the D2x, if it turns out to be good quality, will be a much nicer upgrade than an 8 MP camera. And with that camera, I will probably stop shooting 35mm film unless certain clients request it.

On the downside, the D70 isn’t as durable of a camera as an F5 or a pro DSLR. It can still take a few knocks but I have to baby it a little if I want it to last. And the autofocus, while capable, is nothing to get excited about. The only other things missing on this camera are a synch cord port and mirror lock up which are minor nigglings. I have gotten used to the tunnel vision viewfinder and barely notice it now, though at first it felt pretty small. All in all, for the money Nikon’s D70 is hard to beat - which is why Nikon is making a bundle off this camera. Now, where is that 18 MP camera that you really need to get on the market so you can get ahead of the competition? C’mon Nikon.

Equipment Review: Nikon F5

September 2001

I know, I know. Many of you are wondering what more can be said about the Nikon F5. It has been out since 1996 and everybody and their dog have praised its abilities. I have been using this camera for over two years now and have found a few insights about it that many photographers (especially those Canon users) may find rather interesting.

Everybody knows that it is a tank. The autofocus is unbelievable. It fits the hand like a glove. But none of these attributes are the ones that really make it “incomparable” as Nikon states in its propaganda. RGB Color matrix metering is the key to this camera. When I first got this camera I heard a few users (mostly professionals) blathering on and on about its color matrix metering and how they never used anything else because it was always right! I didn’t believe it so I started to run some tests and low and behold it has never let me down.

The combination of such accurate metering, fast auto-focus and reliability creates the ultimate grab-shot camera. I have been shocked at how good the color metering is. Many exposures that it has figured out instantaneously I would have never been able to decipher. I just can’t believe it half the time which is why when I have a subject that is stationary I check the color metering with spot metering. The color meter has never been wrong to my knowledge.

I am really excited to see Nikon incorporate RGB metering in their Digital cameras as that is the future of photography. And I am shocked that other manufacturers are not trying to create their own color metering systems. Who cares how fast the camera is if you have a tough metering situation on your hands! You won’t get the shot unless you have an F5.

Equipment Review: Mamiya 7 II Medium Format Rangefinder

August 2003

The Mamiya 7II medium format camera is unique in the world of bulky, heavy medium format cameras, especially those in the 6x7 cm format. This camera weighs less than my Nikon F5 and creates a negative that is four times larger than 35mm. I must confess the first time you see a 6x7 negative you immediately fall in love with it. You don’t need a loop to view the images. The negative is huge! What’s not to like?

The 7 II is a rangefinder camera, meaning you do not look through the lens. You focus the camera using the separate viewfinder and superimposing two images via a split image pentaprism. This is a similar system to the Leica M series cameras. The 7 II has only four lenses to choose from, ranging from 43mm to 150mm (equivalent of 21mm to 71mm in 35mm format). I must say that because of the rangefinder design these are quite possibly the sharpest lenses ever made. I was shocked at the image quality. The lenses all have built in shutters and are very likely better than any of the other lenses in the Mamiya line up. The built in shutter also allows you to synch flash or studio lights at all shutter speeds which is a very nice feature. That said, this camera is a throw back to the days of all manual cameras and it is has a few major drawbacks, especially for low light and action sports photography.

Focusing the camera can be a major challenge indoors and in low light situations. It definitely takes some time and experience to focus the lens accurately. It is also highly recommended to have the rangefinder aligned at least once a year. The rangefinder is a mechanical device that superimposes the images in the pentaprism to achieve focus. Hence, if the camera is knocked around a bit or dropped the focus mechanism can go out of alignment. This camera is not built as well as the Leica M series rangefinders and that might be part of the problem in keeping the rangefinder accurate.

As an adventure sports photographer I was hoping to use this camera to capture 6x7 sports images, but I have found that nearly impossible except in bright light and with relatively stationary subjects. The other factor that slows down camera operation is using the wide-angle lenses you must compose with a separate eyepiece that mounts in the flash hot shoe and then focus in the camera's viewfinder below. Obviously, this isn't the most ideal situation for anything besides still life and landscape work.

I have found that you can get decent results shooting action with the wide angle lenses and Provia 400F outdoors. In this situation you can use the wide angle lens' depth of field to hold focus (set to the hyperfocal distance) and shoot away while composing in the separate eyepiece. Save for the wide-angle lenses, in the outdoors you can forget using it for action photography. On top of these issues, the minimum focus distances are a little too far away to get really creative. For the 80mm lens the closest focus distance is one meter which is much farther out than I am used to. And it only gets worse with the other lenses.

This isn’t a camera for everyone. What it does well it does very well, but the flip side is it is quite limited in it's applications and not exactly cheap. What this camera really excels at is tripod-mounted landscapes. If you are looking for a system to bring back stunning, sharp landscapes and don't want to lug a large format system around you can get the next best thing (in image size) by taking the Mamyia 7II.

Pros:
-Camera is super lightweight for Medium Format.
-Mamiya lenses are incredibly sharp!
-6 x 7 cm format
-Shutter synchs at all speed because of lens design.

Cons:
-Rangefinder Focus is difficult in indoor and low light applications.
-Minimum focus distances are one to two meters which is very restrictive.
-Camera operation is too slow for most sports photography.

Equipment Review: The "Holga"

June 2004

The Holga is the antithesis of the modern camera. This is a bare bones medium format plastic camera made in China and it costs all of $20. It seems to have found a recent revival among pro photographers because it can produce an image unlike anything else. The images feel as if they were shot at the turn of the 20th century and it is that sentimental feeling that gives the “Holga image” its distinction, drawing viewers back to the image again and again.

The camera has a plastic lens, two apertures, and a fixed shutter speed. This is not the camera for those moments when you “have to” get the shot, but it is the camera for those times when you want to get really creative since it leaks light and creates a “burnt” edge border effect. Obviously you are seriously limited by the lack of exposure adjustment but it works perfectly in early or late evening light with 100 ASA film. You can choose between 6x6 or 6x4.5 formats by removing a plastic piece inside the camera. I tend to prefer the 6x6 format as it simplifies composition and is more artistic. Focusing is basically a guess. There are four pictures on the lens that help guide you but it is by no means a perfect system.

Shooting with the Holga provides no guarantees but that is just part of the fun. Each camera has a little different character since the lens is plastic and they leak light differently. There are also modified Holgas available that are optimized for bulb exposures and larger apertures, which significantly extends their usability. You can purchase the Holga online at santafeworkshops.com or modified Holgas from http://www.holgamods.com. I am having a lot of fun with my Holgas these days creating images that are off the beaten path.

Equipment Review: Nikkor AF-S 28-70mm f/2.8D ED-IF

December 2003

I have had the Nikon 35-70mm F/2.8 for years. It has served me well but I was never really satisfied with the sharpness of that lens. While others have raved about how sharp the 35-70 was I never found mine to be as sharp as my newer AF-S lenses. The 35-70 had fairly slow auto-focus and I never really like the push pull design.

Hence, I recently upgraded to the AF-S 28-70mm f/2.8 lens and I am very impressed! The auto focus is incredibly fast on this lens and I can tell that it is much more accurate as well, especially in low light. And the sharpness of this lens is far beyond my old 35-70. This might well be the sharpest Nikkor zoom lens I have ever used! I think it even surpasses my AF-S 80-200mm f/2.8 which is razor sharp.

The construction is beefy. The lens weighs in at 31.4 ounces which is a lot considering the focal length but the metal lens barrel with the crinkle finish tells me this baby can take a serious beating. On an F5, the lens balances very well and the two ring design is a bonus for shooting rock climbing when the lens is pointed straight down. It also comes with a great lens hood similar to the AF-S 80-200mm f/2.8.

The only down side is the massive size of the lens. Especially when you reverse the lens hood for storage. It takes up a lot of space in the camera bag. This is not the light and fast lens, but I bought it for the sharp optics and super fast and accurate autofocus. If you are looking for the sharpest medium range zoom out there, this is it. Though at $1500 this is definitely not a lens for everyone.

My only wish is that Nikon would make this lens a 24-70mm f/2.8 with the AF-S and Vibration Reduction (VR) technology. The VR could really come in handy while swinging around on a rope shooting in the shade with slow speed film. Though I fear what it would cost.

Lens Specs:
-Filter Size: 77mm
-Weight: 31.4 Oz
-Size: 3.5 X 4.9 in
-Close Focus distance: about 11 inches in Macro
-Silent Wave Internal Motor
-2 Extra low Dispersion (ED) Elements
-Rounded 9 blade diaphragm

Equipment Review: Nikkor 16mm f/2.8D Fisheye

March 2002

The Fisheye has become one of my favorite lenses because it creates images that leave most viewers (and some photographers) baffled. In the outdoors with no straight lines I can create images where the viewer can’t tell I used a fisheye. In other instances I can use it to exagerate. The fisheye seems to be back in vogue as I am selling a lot of images produced with this baby! Cha-Ching $!

There are few lenses that are so much fun and so light. It comes with me everywhere I go and gets pulled out of the bag quite often. It’s closest focusing distance is also a scant 10.2 inches which allows you to really get whacky with this lens. This lens isn't cheap so it may not be the lens to get for a lot of photographers. In my profession I am trying to create images of ideas that I have dreamt up. To create these images, I have to find the right tools for the job and the 16mm is one of those tools that allows me to get really creative.

To find out more information about this jewel go to Nikon's website at www.nikonusa.com.

Equipment Review: Nikon 80-200mm f/2.8D AF-S Nikkor

March 2001

Last fall I had the unfortunate (and thankfully rare) experience of dropping a lens in the Obed River gorge. My older 80-200 Nikkor took a 100 footer and landed in the dirt along with two other lenses. The two wide angles survived but the 80-200 sustained significant damage. Hence, my purchase of the new AF-S version of the 80-200 f/2.8 AF lens.

The new 80-200 is far nicer than the old model I destroyed. I have found it to be noticibly sharper than my older 80-200 and comparable if not better than my fixed focal length lenses. The sharpness of this lens is unbelievable! The addition of a tripod collar is very nice for landscapes and low light shots. And the new lens hood is huge and works better than any Nikon lens hood I have used.

The lens also includes Nikon’s Silent Wave internal motor which makes focusing speed and accuracy amazing. I have been shooting with the Nikon F5 at 8 fps with no hesitation from the lens. With the F5 and this lens I couldn’t think of any faster combo I’d rather use. The only major drawback about the lens is its weight (51 oz) and size. It is quite massive and people look at me as if I’d just pulled a bazooka out of my camera bag! In my honest opinion, this is the most amazing lens I have ever owned and defintely the best 80-200 f/2.8 lens I have ever seen!

Lens Specs:
-Filter Size: 77mm
-Weight: 51.1 Oz
-Size : 3.5 X 8.1 in
-Close Focus distance : 4.9 feet
-Silent Wave Internal Motor
-5 Extra low Dispersion (ED) Elements
-3 Focus lock buttons on the lens