PROFOTO FORUM

The new Nikon v1

Nikon has created a new series for the compact system camera market, the Nikon 1.  My first thought of the camera was not very hopeful but upon further inspection I became more impressed with its ease of use and functionality.  The V1 is the flagship model in the new series and is a very capable little camera that can give you excellent images and high quality video with a wide range of accessories.

Its feature-set includes a good part of what entry-level DSLRs can do, plus it has plenty of unique features of its own. The Nikon 1 system uses the same 3:2 aspect-ratio as most modern DSLRs, providing an exact match for the classic 4″x6″ print. The V1 has a 10 megapixels CMOS sensor, good enough for sharp 10″x15″ prints at low sensitivities.

There are presently 4 native lenses for the V1, spanning focal-lengths of 10 to 110mm. Considering the crop-factor of 2.7X, this covers a wide-angle 27mm to a telephoto 297mm. This covers a wide range of subjects from landscape to street shooting. While an F-mount lens can easily provide a longer reach, wider angle options are extremely limited.

The Nikon 1 mount is controls lenses electronically. Traditional mechanical zoom lenses plus power-zoom lenses are available. Auto-focus is obviously supported as is manual focus which is performed by the control dial rather than a focus ring. Image stabilization is built into lenses but controlled and activated by the camera.

The standard PASM (Program, Aperture-priority, Shutter-priority & Manual) exposure modes are available for both images and videos. The right mode is chosen via the menu system rather than traditional mode-dial. EC is available ±3 steps in 1/3 EV increments. Actually, all exposure parameters other than ISO are always controlled in thirds.

With a shutter-speed range of 1/16000s-30s, plus Bulb mode, the Nikon 1 V1 is suitable for photography in extremely bright to rather dim lighting. The standard ISO sensitivity range goes from 100 to 3200, with ISO 6400 as an expansion option. This is enough for general photography and is comparable to entry-level DSLRs.

Continuous shooting speeds are unmatched among ILCs, with up to 60 FPS at full-resolution. A large buffer lets it shoot up to 60 JPEG images or 30 RAW files. The V1 achieves this stellar speed in High-Speed Electronic-Shutter mode which forces automatic exposure including Auto ISO with a limit of 3200. Auto-focus is locked on the first frame at drives speeds above 10 FPS. At 10 FPS though, continuous auto-focus including subject-tracking is possible. When the mechanical shutter is enabled, the continuous drive drops to a respectable 4 FPS.

Nikon took a genuinely useful and unique approach to integrating images and video with this digital camera. In all image modes, the V1 can record video with a 3:2 aspect ratio at the unusual resolution of 1072×720. In the dedicated video mode which captures 16:9 aspect ratio HD video, the V1 can capture images of the same aspect ratio. The great thing about this is that correct framing is always previewed with 100% coverage. Kudos to Nikon for getting this right!

The high-speed CMOS sensor is used in both Smart Photo Selector andMotion Capture modes. Both these modes buffer from the moment the shutter is pressed halfway. The difference is that the former mode selects the 5 best images based on sharpness and composition, while the latter creates a slow-motion video from the second preceding the shutter-release.Motion Capture mode adds one of four fixed sound-tracks to the video.

The Nikon 1V1 provides flexible image parameters in the form of 6 predefined Picture Controls, one of which is B&W. Each style can be refined using 10 steps of sharpening, 7 of contrast, 3 of brightness, 7 of saturation and 7 of hue. White-Balance is quite flexible with an Auto mode, 6 presets and a custom setting. All WB settings are fine-tunable in 13-steps along 2 axis.

Drive modes include self-timers of 2s, 5s and 10s, plus both instant or 2s delayed remote trigger. There is no need for MLU on the V1. The is an Interval Shooting option which takes up to 999 images at intervals between 5s and 24h, assuming the batter holds that long.

Nikon 1 V1 Major Features

Canon 5D MKII

Canon 5D MKII back view

Top View

So here is the 5D Mark II, which punches high in terms of both resolution and features, headlining: 21 megapixels, 1080p video, 3.0″ VGA LCD, Live view, higher capacity battery. In other words, a camera that aims to leapfrog both its direct rivals, either in terms of resolution (in the case of the D700) or features (in the case of the DSLR-A900). Full detail below.

Key features / improvements

• 21 megapixel CMOS sensor (very similar to the sensor in the EOS-1Ds Mark III)
• Sensor dust reduction by vibration of filter
• ISO 100 – 6400 calibrated range, ISO 50 – 25600 expansion (1Ds Mark III & 5D max ISO 3200)
• Auto ISO (100 – 3200) in all modes except manual
• 3.9 frames per second continuous shooting
• DIGIC 4 processor, new menus / interface as per the EOS 50D
• Image processing features:
  • Highlight tone priority
  • Auto lighting optimizer (4 levels)
  • High ISO noise reduction (4 levels)
  • Lens peripheral illumination correction (vignetting correction)
• RAW and SRAW1 (10 MP) / SRAW2 (5 MP)
• RAW / JPEG selection made separately
• Permanent display of ISO on both top plate and viewfinder displays
• AF micro adjustment (up to 20 lenses individually)
• Three custom modes on command dial, Creative Auto mode
• Image copyright metadata support
• 98% coverage viewfinder (0.71x magnification)
• 3.0″ 920,000 dot LCD monitor with ‘Clear View’ cover / coatings, 170° viewing angle
• Automatic LCD brightness adjustment (ambient light sensor)
• Live view with three mode auto-focus (including face detection)
• No mirror-flip for exposures in Live View if contrast detect AF selected
• Movie recording in live view (1080p H.264 up to 12 minutes, VGA H.264 up to 24 mins per clip)
• Two mode silent shooting (in live view)
• New jump options in play mode
• HDMI and standard composite (AV) video out
• Full audio support: built-in mic and speaker, mic-in socket, audio-out over AV (although not HDMI)
• IrPort (supports IR remote shutter release using optional RC1 / RC5 controllers)
• UDMA CompactFlash support
• New 1800 mAh battery with improved battery information / logging
• New optional WFT-E4 WiFi / LAN / USB vertical grip
• Water resistance: 10 mm rain in 3 minutes

How do you follow a classic? That’s the question Canon faced when it got to work producing a successor to the EOS 5D. The original 5D was the first ‘affordable’ and lightweight (in relative terms) full frame camera, and set a standard for low noise at high ISO settings that remains competitive three years later. The EOS 5D attained almost cult status amongst Canon users (selling surprisingly well for a $3000 camera), and paved the way for Nikon (with the D700) and Sony (with the Alpha 900) to launch their own ‘compact’ full frame semi-pro bodies.

This means the 5D Mark II, unlike its predecessor, is entering a marketplace where it has several strong competitors. The D700 set the benchmark for high ISO performance (along with overall shooting performance at this price level), and the A900 set a new benchmark for ultimate resolution. The 5D Mark II offers similar resolution to the Alpha 900, increases the sensitivity range to ISO 25,600, and offers high ISO/noise performance that gets close to the Nikon D700/D3. In short it – almost – offers the best of both worlds without costing the earth.

So while the 5D Mark II would never be mistaken as a camera aimed at sports or action photographers (thanks to its rather pedestrian AF performance and overall shooting performance), it balances resolution and high ISO performance very well. And let’s not forget its party trick of being able to shoot 1080p HD video with full manual control of exposure (following the release of firmware version 1.10). While it may not be the first DSLR on the market to be able to feature HD movie capture (the Nikon D90 grabbed that honor), it is the first full frame camera to do so. This means that all the benefits of its full frame sensor, plus the ability to use the vast range of EF lenses, can be translated directly to movie recording. For some users this feature alone will put the EOS 5D Mark II ahead of its competitors.

Canon hasn’t just taken the 5D Mark I and put a new sensor in it. There are many little improvements that make this camera more than just an updated EOS 5D. There is the new menu system, the implementation of Live View, the sensor shake anti-dust system, the larger and higher resolution screen, a higher capacity battery, and extra customizability. The little details have been refined; for example the new ports cover is much improved, making the ports easier to use, and it’s now easier to change the ISO with the camera to your eye. All of these things will have an impact in actual use that 5D users will notice and appreciate.

While there are still other cameras in its class with marginally higher resolution, marginally better high ISO performance, more advanced AF, faster performance, better weather sealing and more solid build quality – and the Sony A900′s built-in anti-shake remains unique in the full frame arena – the 5D Mark II is certainly one of the best value for money propositions on the market for image quality – especially in RAW, where you really can see the benefit of all 21 million pixels. Canon has also wisely made only minor tweaks to the external interface, so that 5D users can jump right in and feel at home. Looking at the package as a whole the EOS 5D Mark II seems hard to beat.

We have always placed a heavy emphasis on image quality, and all other things aside this means the 5D Mark II has to receive our highest rating. When you consider the price of the EOS-1Ds Mark III, the 5D Mark II seems like quite a bargain. In our review of the original 5D we said ‘only history will tell if the EOS 5D is the start of a full frame revolution or simply the first of a new niche format’. Now we have to wait to see if the 5D Mark II (and the Nikon D90) are the start of the convergence of high end video and still photography cameras. But even if you never shoot video, and consider Live View to be a pointless novelty, the EOS 5D Mark II has an awful lot to recommend it to the serious photographer.

Conclusion – Pros

• Excellent resolution, very close to Sony Alpha 900 (and essentially the same as EOS-1Ds Mark III)
• Very good High ISO performance, almost as good as Nikon D700 / D3
• Wide range of ISO settings from 50 to 25600 (with ‘ISO Expansion’ enabled) and useful auto ISO setting
• Finally offers selectable levels of high ISO noise reduction
• ISO setting now visible in view finder (finally!)
• 1080p 30 fps video usable in low light conditions, with very good quality and full manual control over exposure (with firmware version 1.10)
• External microphone socket for use with movie recording
• Improved large, bright viewfinder (98% coverage)
• Large high-resolution LCD screen with anti-glare coating for better contrast and wider viewing angles
• Live view functionality brings it in line with other cameras in 2009 – indeed better than most (no mirror flip, live histogram, exposure simulation options) – although contrast detect AF still slow
• Integrated sensor cleaning system
• New Digic IV processing engine with 14bit A/D converter updates performance and menu interface to current standards
• sRAW1 and sRAW2 modes for smaller file sizes without losing the benefits of RAW; RAW and JPEG sizes selectable independently
• Built-in peripheral illumination correction to deal with vignetting
• Very well built, better than the original 5D especially around mirror box and lens mount
• Wide range of image parameter adjustments (-4 to +4 for most)
• Continues to write to CF card even when card door is open (finally)
• Much improved USB transfer speed
• Control layout almost the same as original 5D
• Optional WFT-E4 wireless transfer grip
• Optional wireless IR remote option
• Extensive and mature software package included (everything you need to process images)
• Picture styles editor allows user to create custom picture styles and load them into camera

Conclusion – Cons

• AI Servo (continuous AF) not as good as EOS-1 series or Nikon D700
• Default noise reduction quite heavy at anything over ISO 400 (can be turned down though)
• JPEG output a bit soft when viewed at 100%
• Still pretty average automatic white balance in artificial light
• No mass storage device USB mode
• Built in microphone not great, and not usable for audio notes (EOS-1 series feature)
• Auto LCD brightness control can mean preview image doesn’t match recorded image
• Even with My Menu system, mirror lockup not as easy to use as other brands
• No selectable lower and upper limit for auto ISO
• No built-in flash (would be useful, if not essential)
• Weather sealing not as good as some competitors
• Continuous shooting speed slowest of any current full frame DSLR
• Doesn’t have quite as much highlight dynamic range ‘headroom’ (in RAW) as the D700 or Alpha 900

Sensor Size Chart

Hopefully, you have read the HOW DO I DETERMINE WHICH DSLR I NEED post to understand the basic technical differences between sensor sizes and megapixels, if not I recommend reading it before continuing.  I am assuming that you are reading this post because you are not sure if you want or need to go full frame or not.

First of all, full-frame image sensors refer to sensors which share the same size format as traditional 35mm film that measure approximately 36 x 24mm. Due to issues with cost and availability, the majority of DSLRs today however adopt a smaller than full-frame sensor often with a size known as ‘APS-C’ or DX that measures roughly 22 x 15mm. Comparatively speaking, full-frame sensors trump the image quality of smaller frame sensors due to its sheer size advantage. With a larger sensor, it makes room for larger pixels to collect light and in effect raises the sensor’s sensitivity to light. As a result, a much cleaner image can be achieved while showing lesser signs of image noise.

Less noise also leads to sharper and more refined details. The larger sensor becomes particularly effective at distinguishing details hidden in dim areas or when photographing in low-light. With a larger sensor, it makes way for a larger room for even more pixels to be added. With that said, a greater resolution can be achieved to make visible the finer and subtle details that smaller sensors may not catch. In more practical terms, the increase in megapixels also allows images to be cropped extensively or enlarged to a greater scale. This gives professionals and photographers the ability to deliver the bigger prints they need when using images for commercial purposes.

Another important advantage of full-frame sensors is the ability to reach the wider angles of wide-angle lenses. Since with non-full-frame sensors, anytime a lens designed for full-frame is mounted on, they are only able to capture the centre section of the imaging area and unable to benefit from the whole perspective of that lens. This is known as the crop factor which shows a crop size of the captured image to the size of the full-frame. In the case of Nikon’s DX format sensor, a crop factor of 1.5x is given and when used with a Nikon 200mm-400mm lens, the crop factor turns the focal length into a 300-600mm zoom, effectively extending the reach of that lens. This is one benefit that full-frame sensors are without and becomes a disadvantage for users who often shoot at the telephoto end.

However, even so, with the incredible advantages brought along by full-frame sensors, interest and excitement is still burning wild for the full-frame DSLRs and especially for cameras like the Nikon D700. Given that both Canon and Nikon have now been able to offer full-frame DSLRs in a more affordable package, it’s an attractive proposition to professionals and an option to consider for serious amateurs. Given the popularity of Canon’s EOS 5D and the excitement for the Nikon D700, one thing is for sure and that is demand is strong for these cameras.

In short, full-frame sensor cameras give you a higher quality image and focal lengths stay true.

Canon 50D

Canon upgrades its line every 18 months, but they broke with tradition by introducing the EOS 50D just 12 months from the introduction of the 40D. The move has helped Canon catch up with the Nikon D300, which made quite a splash in the market. With the same rugged, conservative body as the 40D, the Canon EOS 50D’s only distinguishing mark is the silver bezel on its mode dial. There are a few minor changes to how the buttons and controls are used, but for the most part the Canon 50D’s body is unchanged.

Internally is where you’ll find the Canon 50D’s major changes. First is the new 15.1-megapixel APS-C CMOS sensor, a significant upgrade from the 40D’s 10-megapixel sensor. Major changes to the design of the microlens array as well as to the sensor itself have actually reduced sensor noise despite the increase in resolution. The change has allowed Canon to offer a wider range of ISO settings than the company has ever offered, ranging from ISO 100 to 3,200, plus two higher settings: H1 is equivalent to ISO 6,400 and H2 takes the camera to 12,800.

Canon’s new DIGIC 4 processor is a part of the equation, moving the extra data at a faster pace than its predecessor (40D), and keeping the camera to a high 6.3 frames per second while maintaining that 14-bit data for RAW images (this is a slight speed drop from the 40D’s 6.5 fps).

The Canon 50D also has a new look to its menu, and a Quick Control system works off the previously neglected Multi-controller, making quick changes to commonly used functions easier to execute. Other software enhancements include a new vignetting correction, Automatic Lighting Optimizer with three levels, adjustable noise reduction, a Creative Auto mode, a lens micro adjustment function, and face detection autofocus in Live View mode.

Finally, the Canon EOS 50D has a much improved LCD screen that offers 920,000-dot resolution, making for a 640×480 screen, finally putting the 50D on par with some of its major competitors.

Here are the pros:

• Excellent 15.1 megapixel sensor with very low noise and superb detail
• ISO 100 to 1,600 usable at 13×19 inches
• Dust removal technology reduces sensor cleaning chores
• High-resolution 3.0-inch LCD makes checking focus and composing in Live View an excellent experience
• Status display includes more detail
• Quick menu integrated into rear Status display for fast changes without delving into menu
• Two Camera User Settings on mode dial
• Print/Share button enables quick and easy printing and image transfer
• Live View button frees up Set button for other purposes
• Fast image transfer eliminates the need for a card reader
• Excellent grip for most hand sizes
• New Creative Auto mode
• Live View mode is great when shooting from odd angles
• Live View works from computer via cable or WiFi (with WiFi grip)
• Interchangeable focusing screens
• Picture Styles makes choosing and customizing color modes fast and easy
• Compatible with over 50 lenses and accessories
• Uses CF cards like most other Canon digital SLRs
• Selectable auto-rotation feature rotates on the camera or only in the computer
• Large buffer depth allows for many followup shots
• Excellent detail from the sensor
• Highlight detail is well preserved at default settings
• Highlight Tone Priority makes it even better
• Adjustable Auto Lighting Optimization
• Images are sharp, but not oversharpened, and noise suppression is kept well under control
• Noise suppression is also adjustable
• Color is very accurate, with only red being a little off, which consumers generally like
• Auto white balance handles most situations very well
• High ISO images are impressive, all the way up to ISO 3,200
• Print quality is excellent, making sharp 13×19-inch prints
• RAW images can easily produce 20×30-inch images
• Great shot-to-shot, shutter lag, and cycle time numbers
• RAW files are very clean
• Under-3-second flash recycle time
• Sealed flash hot shoe
• AF microadjustment
• Vignetting correction
• HDMI Output