There’s something reassuring in the way upgrades its pro-grade DSLRs. The company typically adds the performance and features to keep the models highly competitive, while maintaining the fundamentals of ergonomics, control layout, and ruggedness.
And so the arrives looking like a virtual twin of the earlier —but boasting record-breaking low-light performance, a top ISO of 409,600, high-speed Ethernet for tethered shooting, and a full suite of video recording tools. And yes, a street price of $6,497 (body only).
We were naturally eager to get the D4s into the to see what it could do—especially with the lights turned down low. In the Test Lab As the D4 did before it, the Nikon D4s earned an Excellent rating in overall image quality from its lowest sensitivity setting of ISO 50 through ISO 800. Moreover, it did so with less noise than the D4. While DxOMark.com’s analysis of the two sensors shows the D4s enjoys slight improvements in dynamic range and low-light performance, we suspect that changes in Nikon’s processing, as well as the new sensor, made the difference in our test results.
I have been shooting with the D4S for the past month. Remote capture control and a processing/memory pipeline that. Stepping her game up to face. SheepArcade search results for Pokemon D4s. Are going to launch a new Pokemon game which will be. Gratuit d4s jeux, d4s pokemon matching.
As always, we converted the D4s from 14-bit uncompressed RAW files to uncompressed TIFF files for our noise test. The results, which we measure with DxO Analyzer 5.3, are the best we’ve ever seen.
The D4s achieved top honors in this test—an Extremely Low rating—up to ISO 1600. It scored a Low or better noise result all the way up to ISO 12,800. The only other camera that can claim Low or better to ISO 12,800 is, though this managed an Extremely Low rating only to ISO 400. Of course, the Canon has a 22.3MP sensor and the Nikon a 16.2MP sensor, with proportionally bigger pixels. The D4s doesn’t reach an Unacceptable noise rating until ISO 102,400, though even at that point the noise was not terribly objectionable, and images reproduced at smaller sizes could easily pass muster. In our resolution test, the Nikon D4s essentially matched the results of the D4.
At ISO 50 the new camera captured 2550 lines per picture height, just over our cutoff for an Excellent rating. The D4 turned in 2530 lines at that same sensitivity, a difference that’s negligible in this test. A difference of 200 lines is more significant, and that’s how much more the EOS 5D Mark III was able to get with its extra pixels. However, we expect that anyone considering the D4s will care more about the extra 5 frames per second it’ll give you in burst shooting compared with the 5D Mark III. And if the bursts do matter, then you’ll likely be eyeing the Canon EOS 1D X’s 12 fps instead. That Canon turned in 2530 lines in our, essentially matching the D4s. To compare further, the EOS 1D X maintained an Excellent overall image quality rating up to ISO 1600, compared to the D4s’s ISO 800.
But the difference here is mainly in resolution. The D4s, like the D4 before it, falls below our 2500-line cutoff once sensitivity is increased beyond ISO 800. In the D4s’ favor, however, the 1D X reached Unacceptable noise levels by ISO 12,800, while the D4s managed three more stops of acceptable noise performance before crossing the Unacceptable threshold at ISO 102,400. The Canon just can’t match the cleanliness of the Nikon’s images at very high ISOs. Color Accuracy garnered another Excellent rating for the D4s; its average Delta E of 5.4 beat the 7.0 we saw with the D4. In our test, the D4s showed slight improvement over its predecessor’s already impressive results.
The camera focused in under 0.4 sec down to EV 6, about the light level of a well-lit living room. At EV 0 it was able to focus in 0.75 sec; in the ultra-dim light of EV –2, the AF became slightly less consistent and averaged out to 1.18 sec. In the Field The body design of the D4s is basically the same as the D4—incredibly comfortable to hold, though on the heavy side thanks to the integrated vertical grip and its massive battery. With that comes enough energy to power more than 3,000 shots between charges when shooting with the 100-percent accurate optical finder. The rugged magnesium-alloy body is weathersealed, houses a 51-point AF system, 91,000-pixel RGB metering sensor, and Nikon’s latest Expeed 4 processing engine.
Dedicated control buttons abound, and both grips have a pair of command wheels and a joystick to make changes to AF points or other camera settings a breeze. The standard sensitivity range of the D4s spans ISO 100 through 25,600 and is expandable to cover ISO 50 through 409,600.
Standing in a dim Manhattan street at nighttime, we were able to use an available-light exposure of 1/640 sec at f/11 with the camera set to ISO 409,600. Sure, it was a noisy image, but imagine being able to use a shutter speed that fast at night. At ISO 102,400, you can get nice images in situations you’d otherwise never. Those faster shutter speeds might come in handy if you plan to use the D4s’s 11-frames-per-second burst shooting. The camera’s 3D focus tracking did an admirable job of keeping up with fast-moving subjects. We were able to capture accurately focused bursts of cars that were obviously driving in excess of the city speed limit. Plus, with up to 200 or 60 uncompressed 14-bit before the buffer fills, there’s no excuse not to quickly fill your Compact Flash or XQD cards when shooting with the D4s.
Speaking of XQD, Nikon remains the only company making use of the fledgling card format in its DSLRs. We like the rugged feel of the cards and appreciate the speedy data transfer they provide. While we’re sure that some day XQD will have to battle it out with CFast, after using XQD we wouldn’t mind seeing the format stick around for the long run—with the future surely poised for faster video frame rates and 4K video capture, the faster data transfer of these cards will become more and more necessary. As for video, the D4s adds 1920x1080 video capture at 60 fps. This allows for half-speed slow motion, which is nice to see in a DSLR. The D4s also allows for simultaneous capture to a card in the camera and to an external recorder via the camera’s HDMI port. Though it’s more likely that serious will use external audio, the windscreen on the internal mic has been improved, and you can not only adjust audio levels during recording but also limit the frequency range of the audio recording to let voices stand out more.
Video quality remains among the best you’ll get from a DSLR today. Time-lapse fans should note that the D4s increases the number of frames the camera will assemble into a video by 9,000.
You read that right—the D4s lets you make a time-lapse of up to 9,999 shots compared to the 999 of the D4. And photographers who prefer to shoot tethered to a PC might be able to appreciate the fact that the camera’s Ethernet port is now Gigabit. The Bottom Line The Nikon D4s competes mainly with Canon’s EOS-1D X. As outlined above, the D4s ends up winning the image quality comparison with better low-light performance, even though its resolution trailed the Canon by a small amount at ISO 1600. The Canon does eke out one more frame per second than the Nikon, though, so some action shooters still might opt for the 1D X. We must admit that we like the way the Nikon feels in the hand compared to the Canon, which can be very important in a pro-level body. Ultimately, both the D4s and the 1D X are the best of their breed, and we wouldn’t be surprised if comes along soon with an update to match the D4s’s low-light performance.
But for now, we think Nikon has taken a slight lead in the pro DSLR game. The Nikon D4s is a meaningful improvement over the D4.
The additions and refinements to the camera’s capabilities might not look like a lot on paper, but the improved noise performance goes a long way toward refining the overall shooting experience. To put it plainly, this camera lets you capture images that you weren’t able to before. SPECIFICATIONS IMAGING: 16.2MP effective, full-frame (FX format) CMOS sensor captures images at 4928x3280 pixels with 14 bits/color in RAW mode STORAGE: CompactFlash and XQD.
I spent some time setting up for Sydney. I had not only setup the studio like this for her to make some headshots, I had also scouted around to get colors to match her clothing. Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, ISO 320, ƒ/2.8, 1/640 I found some fall foliage that I could use in the background to compliment her hair. Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1250 To get to the big games like the Chick-fil-A Kickoff these players put in many practice days and games spanning years of preparation. Most Folks I am finding that more people are procrastinators in their work than are anticipators. People wait until they are near a deadline to actually start working on a project.
In school teachers have projects that they tell us about long before they are due, but most of us wait until the night before. Now after we have done a few of these and found out that doesn’t leave us enough time we may actually start it a little sooner–like a day or two earlier. Word vs Photograph Throughout my career there has been a healthy tension between writers and photographers. One thing you will hear photographers saying to writers is I can’t call the subject and change the ƒ-stop. A writer can more easily make changes in their part of a project at the last second whereas a photographer has to reshoot to make a change. When I started out I would just pick up a small camera bag and run out the door for the newspaper. Today I realize that the more I plan and prepare for a photo shoot the better the results.
Today I ask a lot more questions when I get a project. Why are you needing these photos or video? What are you looking for from the project? What is it that the audience to do once they have seen the project? The questions go on more than just these few questions.
Once I am comfortable with the direction and style they are wanting I can then plan for what gear I need for the shoot. Sometimes this requires me renting gear. For most of my projects today travel is involved. I must book flights, hotels, rental cars, assistants and more. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/160 Advantage of Anticipating When you anticipate as I must do for assignments there is a lot of dialogue with a client. Much of this is in written form between me and the client. The great thing about this process for me is I have a paper trail showing how I was proactive and getting their approval before executing anything.
When you talk through a treatment with a client in as much detail as possible when the assignment is given then you give yourself and the client the advantage of keeping the costs down and pushing the quality up. Since I am working in an artistic field for a career then the one thing that keeps you receiving a paycheck is being in demand.
Believe it or not but the busiest photographers I know are the ones who are Anticipators and not the Procrastinators. When do you need this project? Then they would start with that date and then say well the printer needs two weeks from the time they have it to turn it around without any rush fees. Before this the graphic artist will need two weeks to layout the piece and then have you sign off on it. This includes two reviews.
By the way your review time puts on hold the project. So if you take 24 hours to approve or make changes then that is how much the project is delayed.
If you take a week to get it approved then that means we need to move up the date for you to get materials to us. This helps kick light under the chin and into the eyes for what I consider a very flattering light. Now the main light is a beauty dish most of the time or a white umbrella. I prefer round light modifiers for the catch lights shape. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/4, 1/200 –  Alienbees B1600, White Background & Lastolite Triflector silver/gold kit. The reflector is always slightly less than the main light.
To soften it more just use a white rather than the silver. If you want to warm it up use a gold reflector. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/4, 1/200 –  Alienbees B1600, White Background & Lastolite Triflector silver/gold kit. You want the main light up about 45º above the camera lens and straight above it.
This will make the light that is hitting the face to come down across it and help those cheek bones pop and give some contours to the face. Straight on to the model will kill those cheek bones and flatten out their features.
By the way I also like to use a tripod so I can glance above the camera at times to keep more of a personal connection with the people. Author Posted on Categories,,. Fujifilm X-E2, FUJINON XF 55-200mm, ISO 1250, ƒ/4.5, 1/100 This is the time of year we celebrate Jesus being born. This is the time of year we celebrate children.
At my church this Christmas eve there is a special service for families with small children that we enjoy going to each year. Fujifilm X-E2, FUJINON XF 55-200mm, ISO 2500, ƒ/4.8, 1/100 This little boy decided to join our minister in the chair beside her. The minister said as long as you sit you can stay. Well that was a fun thing to watch unfold. Fujifilm X-E2, FUJINON XF 55-200mm, ISO 2000, ƒ/5.6, 1/100 I think the minister was enjoying the little boy as much as he liked being treated like an adult.
The more I travel the more I see that children are much more welcomed into services around the world than we do here. Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art, ISO 4500, ƒ/4, 1/100 Here all the kids are so well behaved here in Togo, West Africa. However they do walk around in the service to the mothers and family. Children can bring you joy.
Nikon D5, Nikon 85mm ƒ/1.8G, ISO 4500, ƒ/4, 1/100 Take the time to enjoy moments and capture them to show others what you value and also to teach children what you value. Photography has the power to help communicate our values. When it comes to faith capture those moments that shape your morals and values for your family. 1 Timothy 4:12 Don’t let anyone look down on you because you are young, but set an example for the believers in speech, in conduct, in love, in faith and in purity. Fujifilm X-E2, FUJINON XF 55-200mm, ISO 1250, ƒ/5.6, 1/100 Children are paying attention to all we do and how we act. Fujifilm X-E2, FUJINON XF 55-200mm, ISO 2500, ƒ/5.6, 1/100 John 1:12 Yet to all who did receive him, to those who believed in his name, he gave the right to become children of God. Author Posted on Categories,,,,.
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, Nikon SB-900, ISO 400, ƒ/3.5, 1/6 I do not promote myself as a wedding photographer. I have shot many weddings in my career, but today I have been just doing weddings for close friends and family. There was a time I turned down any requests. Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, Alienbees B1600, ISO 100, ƒ/5.6, 1/60 The reason I am not as fond of shooting weddings is the amount of people posing.
I can do an excellent job of getting great moments in posed shots, but my favorite thing to do in all of photography is capturing those moments that are not posed. Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, Alienbees B1600, ISO 400, ƒ/5.6, 1/200 I love a moment like this where the mother of the groom is dancing with her son and the grooms friends and family are caught up in the moment as well.
Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 11400, ƒ/4, 1/200 I love the moments where the Bride and Groom are in a moment where you see the love they have for each other and you can see why they are getting married. Nikon D4, Nikon 85mm ƒ/1.8G, ISO 12800, ƒ/4.5, 1/50 Sometimes the moments are subtle or they are bold as here. Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, Nikon SB-900, ISO 400, ƒ/3.5, 1/6 I love capturing the expressions of people where you can see on their faces their emotions.
The other thing I notice is at weddings the guests are just as happy for the couple. Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 10000, ƒ/5.6, 1/8 The hard part about shooting weddings is you are doing so many styles of photography throughout the day. You are having to do studio lighting fashion shoots and then turn right around and just doing more of event photography as well as getting those moments. Nikon D5, Sigma 35mm ƒ/1.4 DG Art Lens, ISO 22800, ƒ/5.6, 1/100 Capturing the moments is what I work on the most in my photography. I believe it is the expressions that are the most powerful thing in a photograph. I spend a great deal of time trying to be sure the technical parts of photography: Lighting, Composition, Depth-of-field and more are all ready for when the moment will happen. Nikon D5, Sigma 35mm ƒ/1.4 DG Art Lens, ISO 6400, ƒ/3.2, 1/100 Sometimes those moments are posed, but you just wait for the moment when they are into it rather than stiff and just posing.
Nikon D4, Nikon 85mm ƒ/1.8G, ISO 2800, ƒ/1.8, 1/100 Author Posted on Categories,,,,,,. Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, ISO 45600, ƒ/2.8, 1/4000 When I reach for a camera to shoot an assignment here are some variables that are important to consider: • Can it capture the scene? • Is the ISO high enough for the lighting conditions? • Is the shutter speed fast enough to freeze moments? • Do I have to think about which camera I have in my hand? • Are the controls the same as my other cameras? • Is the buffer big enough so I can shoot whenever I want?
• Can I use high speed shutter sync and shoot at any shutter speed with my flashes? • How does if feel in my hands? This is the TT1 with the AC-3 that was on the camera. Well less than 3 shots into the game and the referee said no flash. No time to talk to the school officials and coaches again to fix this problem.
So I just switched to available light. The available light was a mixture of LED and tungsten lights. The Color Temperature was 4700º kelvin with a +25 magenta shift to get a good skin tone. I used the ExpoDisc to get a custom white balance.  Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, ISO 25600, ƒ/2.8, 1/4000 As you can see shooting sports is important to me. My clients need sports as well as classroom shots for example. Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 2200, ƒ/4, 1/100 According to DPReview.com “.” Now this is testing more specifically the high ISO range.
If you want dynamic range at a low ISO then buy the Nikon D810. As they concluded in their article and I can attest to as a working pro, “For its intended audience, the D5’s high ISO imaging capabilities, advanced autofocus and durability are likely to be much more important.” In just a couple of hours I was shooting from inside fluorescent lighting, outside with daylight and shade and finished off the time shooting under the mixed lighting of LED and tungsten. Working without an assistant to keep the costs down for the client the Nikon D5 allowed me to capture all of this at such incredible quality. Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 1800, ƒ/5.6, 1/4000.
Nikon D5, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/5.6, 1/80–Alienbees B1600, triggered with Pocketwizard TT1 and TT5 system [logo from and modified] This weekend was my daughter’s high school homecoming. This is her senior year where everything is the last time for her class. They commented on how freshman year they all stood around and were afraid to dance at the party.
Now as seniors they didn’t care what others thought like they did as freshman. If you follow my blog then you know my daughter is involved in theater and her group of friends are mostly other theatre geeks.
They are not an exclusive group and therefore why I said this was most of her friends, but the theatre kids love most people and are excited to have more people hang out doing life together. Great Self Esteem = Great Photos When photographer’s subjects are confident and can just relax and be themselves you spend more time just capturing those moments versus spending so much of your time trying to pull those moments out of a person. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/5.6, 1/80–Alienbees B1600, triggered with Pocketwizard TT1 and TT5 system The key role of the photographer to make this happen is to create an atmosphere where the subjects feel like they are in control. One way I try to convey this is asking many times throughout the photo shoot is there anything else they would like. I suggest combinations of people and try to keep the excitement going, but the whole time I am really trying to say I am here for you.
Nikon D5, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/5.6, 1/125–Alienbees B1600, triggered with Pocketwizard TT1 and TT5 system I arrived early and started by picking a location. I setup my lights and my wife helped by standing in as subject so I could get the light set just right on her face and balance it with the background and other light on her face. For the better part of 15 minutes I was trouble shooting. I had one lens that was not working with my flashes.
I finally found the combination of working with my Nikon 85mm ƒ/1.8 on the Nikon D5 that would work for me. This required me moving back and forth to get the closeup shots and then walking a good fifteen feet back to get the group shots. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/5.6, 1/80–Alienbees B1600, triggered with Pocketwizard TT1 and TT5 system By the way I spent a good hour later working with both my cameras and all my lenses to test them with the flashes. I believe I have a lens that was just repaired that is the problem. I now know for sure what the problem is that I was having such a problem with when I was setting up for these photos. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/5.6, 1/125–Alienbees B1600, triggered with Pocketwizard TT1 and TT5 system Once I had the lights in place I didn’t change them at all. I just moved closer and further back and occasionally would twist the models a little to the left or right to get a different look.
The closeup of my daughter I just twisted her until the strobe off to the back was directly behind her. Here is the setup for you.
I was so thankful to be photographing my daughter and her theatre friends. They exuded so much more confidence than they did just four years ago. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/5.6, 1/125–Alienbees B1600, triggered with Pocketwizard TT1 and TT5 system What I think is so exciting about taking these photos this weekend is I feel like I captured the traits in these kids who are now young adults just before next year they all either enter the work force or go off to college living their own lives. I am so proud of who my daughter has become and the friends that she has made in her time in school.
Nikon D5, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/5.6, 1/80–Alienbees B1600, triggered with Pocketwizard TT1 and TT5 system In the TV show Friends we watched these six people do life together over 10 years. They dated each other and had to break up with each other. The reason so many of us returned to watch the show was we loved it when no matter what happened they worked really hard to keep their friendships in tact. What I love about photography over text is the power for it to capture emotions.
To capture emotions you need to be prepared. The camera must be set properly. You must have considered the lighting for the photograph. You have been thinking about and taken into account the background. Will you make it razor sharp or blurry and out of focus. But even more important that knowing your gear is to know your subject.
You cannot capture that which you have no knowledge of or understanding. For me to do great photography that is compelling requires the photographer to be involved in their subjects lives long enough that they let you in to see them for who they really are. I have watched these kids from when they were really young and had them in my home many, many times which allowed them to get to know me and for me to know them.
While my relationship is different than my daughter has with her friends, there is a relationship. Oxford Textbook Of Clinical Nephrology Fourth Edition Task. I think that is key to understand as your role as a photographer. I am not trying to be their friends that hang out every day.
I want to be like a parent the safe space that they can hang out and be themselves. Author Posted on Categories,,,.
The main light is an Alienbees B1600 with a 20º grid to keep the light tight on them. I put just enough on the light on the background to just light it and then used a CTO gel over a Alienbees positioned behind the background which had a 30º grid. Nikon D5, Nikon 85mm ƒ/1.8G, 4 – Alienbees B1600, 4 – PocketWizard Plus, ISO 100, ƒ/5.6, 1/200 I enjoyed shooting this for my daughter and her classmates. I hope we can get more people to show up to the show because the photos helped generate more attention. Nikon D5, Nikon 85mm ƒ/1.8G, 4 – Alienbees B1600, 4 – PocketWizard Plus, ISO 100, ƒ/5.6, 1/200 Author Posted on Categories,,.
I always start with the off camera flash 45º to the left or right of the subject. If their body is facing left then that is the side the light will be placed. The light is generally 45º above their head. I look to see if the flash causes a shadow that hits their lips.
If it does I then lower the light till the shadow is just off the lips of the person. This can also be controlled by lowering of raising the subject’s chin. So you have to be aware of light placement throughout the photo shoot as you most likely will have them move their head around. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/4000 Now the cool thing is I can choose to change my settings on the fly. Here I was shooting at ƒ/1.8 of the senior in front of her high school.
I thought they may want to see the high school a little more. To do that I needed to stop down to different ƒ-stop. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/7.1, 1/320 I just powered up the flash from the camera and dragged the shutter from the 1/4000 speed to 1/320. Here is another example where I needed to change the ƒ-stop. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/2000 Again I realized the client may want to know what was on the banner in the background. Quick change without moving my feet. Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/6.3, 1/250 Why use such a powerful flash and not just a speedlight.
Well the recycling time on a speedlight can be pretty slow. $2,095.00 from B&H When you put together a kit of 3 or 4 lights you can see your money costs really go up with the Profoto system. The Profoto gives you one thing that the system I designed doesn’t give to you and that is TTL. As a general rule when working with studio strobes once you put them in place and take your first photo to check for exposure your lights generally don’t move. Here is the main reason I hate TTL–it is unpredictable. Sure I must take a reading then set my lights without TTL, but every time I take a shot the exposure is not consistent. With TTL just a slight movement with your camera, the model or something in the background will impact your meter and tell the camera and flashes to make an adjustment.
Author Posted on Categories,. Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 100, ƒ/4, 1/800 This is Keziah Khoo who I met a few years ago when I taught in the. This was her second. She went to Romania last year and this year went to Togo, West Africa. She tells the story of Kondo who struggled to get an education.
Listen to Kondo tell her story with the help of Keziah bringing that story to life. While we were in a village one day a mother gave Keziah her child to hold.
Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/500.