Scribblings About Things
Nikon Z6III Announcement and Opinions
Finally, the Z6III is now officially announced.
The official press release and specifications of the camera can be viewed here:
With the embargo finally lifted, the first impression or review articles and videos are all released now, and it seems like most of them are positive about the camera - with regards to both the camera’s new hardware capabilities and image quality. This release also shows the general direction the Z6 line is moving in - that is a more video-oriented hybrid line with a wide range of video recording features.
As I am a primarily stills shooter, I guess most of the newer video specs would not affect me directly, though most of the improvements made in the video space would have some form of improvement impact indirectly on the stills side.
Take for example the partially stacked sensor - to get the sensor fast enough for 6k/60p, it also helps with offloading data to the CPU faster for AF calculations.
Personally, what I find interesting and useful to me with the new Z6III are these features:
Bright EVF that can be used in harsh sunlight
Increased sensitivity in low-light situations
Improved subject detection in backlit situations
Focus point IBIS (similar to that of the Zf)
Improved AF over the Z6II (and seems close enough to Z8’s AF performance)
The biggest drawback of the Z6II in my use case is the AF system - in controlled studio environments I tend to have a bit more misfocused shots than I would like; slightly remedied by using AF-S Pinpoint, but still not 100% foolproof.
The AF improvements alone could justify replacing my Z6II as the main workhorse camera. Truth be told I did ponder quite a bit on whether to get a Zf as my main workhorse, but I just could not get used to its ergonomics with longer and heavier lenses.
Interestingly, there were a few other details that I had noticed, which I think might be good to keep a lookout for.
The Z6III does not come with a battery charger, but only a USB cable. (Similar to the Z30/Zf)
The new battery pack (MB-N14) would work on Z6II/Z7II too, which suggests that perhaps the Z-GR1 could fit as well? But the presence of the articulating screen should affect the Z-VP1 plate though.
The top plate has a new illumination button - I wonder if that button is programmable to other functions?
The situation with the weak Japanese yen has not been entirely friendly to us living here, and an effect of that is a huge jump in the launch price of the Z6III (street price estimated around JPY 390,000) as compared to the launch price of the Z6II (street price roughly JPY 245,000).
While I do want the AF improvements, which can certainly be helpful in my workflow, the steep price increase does not seem very justifiable even as a business cost - especially when a used Z8 may cost just a little bit more than this. Furthermore as I had mentioned in my previous post, Japan usually does not provide much pre-order incentives or benefits, so I guess I would sit out the pre-order phase this time round and ponder about my upgrade paths to replace my aging Z6II workhorse.
**Update: Initial impressions upon trying the camera out and more about flexible color picture control.
Does Photography Gear Matter? (2024 Version)
We all know that the Nikon Z6III is going to be officially announced later today, and I thought while waiting for the official announcement I would like to share a bit on my opinions on this particular topic.
The topic on how important is the role of photography gear has always been a hotly debated one amongst photographers - much akin to “Protective Filter vs No Filter” or “Tilt Screen vs Fully Articulating Screen”.
I know I might be opening a can of worms here, so just as a foreword these are solely my personal opinions and I would just like to share them out over here, hoping that this insight could be of use to someone or perhaps be a point of a healthy discussion. You are definitely more than welcome to disagree with them if my ideas and principles differ from yours.
So to answer the question, if I were to give a clear-cut “Yes” or “No” answer, I would say “Yes, photography gear does matter.”
But we all know life is not always black and white, and never simple as a “Yes” or “No”, and thus if given the chance to further elaborate on the answer, my answer would be “Yes, photography gear does matter, but only if you know what you are after or lacking specifically, and understand what kind of compromises were made or had been made. More expensive gear does not always mean more useful gear.”
Many people who mention that photography gear does not matter normally do mean it as goodwill, that chasing the latest and greatest gear would not improve your photography (the infamous Gear Acquisition Syndrome, or G.A.S), but rather spending the time or effort to improve your creative vision would be more beneficial. They usually also cite the example that a seasoned and experienced photographer would be able to create images with a basic camera and kit lens as well.
These are points that I do agree with - especially that GAS is a terrifying rabbit hole to fall into and thinking that getting the next shiny piece of equipment would magically improve your photography is a dangerous thought.
So now, if I agree with this, why do I still say that I believe that photography gear matters?
As I said earlier on, I believe that the gear matters if you have a creative vision that you want to achieve, or need to improve on a certain aspect of your workflow - neither of which is possible without spending time learning and getting used to your current gear first.
Going back to the example whereby an experienced photographer would be able to take photos with a basic camera - I have no doubt that this is definitely true. However the next, and more important question would be, “Is it the wisest choice to use said gear when on an assignment?”
I am pretty sure I would choose a piece of equipment that has more direct physical buttons and robust build on my assignments as it would just be more efficient for me.
Giving some more specific examples:
Shooting subjects from far would require telephoto lenses.
Shooting subjects real close would require macro lenses or lenses that have very short minimal focus distances.
Shooting subjects with smooth background blur would require big-aperture lenses.
Shooting subjects that move around haphazardly requires a body that can lock on and track effectively.
This list can go on and on, and it drives the point that I am trying to bring here - the gear does matter in getting the shot - either being a real physical requirement, or making getting the shot easier.
What it does not do, however, is magically make you a better photographer. Sure if you use a 600mm f/4 you could easily shoot birds and wildlife with all that smooth bokeh - but things like framing, learning about heat distortion, knowing how to place the background for least distraction, anticipating the birds’ movements etc. - these are other factors you have to learn and experience in order to master the art.
And we also have to understand that every camera body and lens is a gear with a set of compromises - be it compromises in image quality, build quality, aperture ratings, autofocus motors and speed, zoom ratings, weight, size, price, etc.
Want a wide-aperture good quality lens? Be prepared for a heavy and expensive piece of equipment.
Want an all-in-one zoom lens? Be prepared for slower apertures and image quality sacrifices.
Want an all-in-one zoom lens with crazy wide aperture? You better be owning a palace and a jeep to lug that gear around.
Another important thing to know is that gear or set-up that works for someone else might not work for you. Many event photographers I personally know of use a 24-70/2.8 + 70-200/2.8 set-up, which pretty much covers most scenarios with ease. I, however, never got used to the 24-70 lenses properly, so I would prefer a 24-120/4 + 70-200/2.8 combination over that.
One factor that many people seem to forget is that the so-called “pro-grade” lenses are also usually more massive and heavier, and whether you actually enjoy carrying all this extra bulk and weight would lead to how often your camera leaves your house with you.
Quoting from my personal experiences, while I do use the 70-200/2.8 for work often, in my private time I reach out for my 85/1.8 or 40/2 way more frequently just because they are easier to carry around.
To summarize everything (#tl;dr),
I believe gear does matter - whether to make taking a shot possible, or to make taking a shot easier
Getting the most expensive gear might not mean getting the best gear for yourself - what requirements you need is specific to your use case and creative vision
Learning what gear to get requires you to first learn what limitations you face in your current set-up
Always know that what works for someone else may not always work for you
As an ending note, try not to be lured by GAS too much and just enjoy what you have - you do already have gear, and that is all that matters!
Z6III Official Teaser and Release Date Announcement
In line with most predictions and speculations (my brief writeup of it here), a couple of nights ago Nikon dropped a teaser video about the upcoming Z6III, which now has been given an official release announcement date: 17th June 2024 9PM JST.
There are many discussions around and dissecting of the information based on that short teaser video (Nikon Rumors’ post on the teaser can be accessed here), which frankly is amazing to me regarding what can be inferred from a short video teaser!
Anyway, from the official quotes in the teaser video, I think the Z6III will definitely include the pre-capture function. The Z8/Z9, as well as the more recent Zf do have this feature too, although it is limited to JPG captures only right now. While it is not a feature that I would be using frequently, I do hope RAW pre-capture is possible (and the other bodies getting it via a FW update) as it would bring better value and use case for the feature.
There’s mention of beautiful colors of the files, which led to speculations of higher dynamic range in raw files or more LUT controls for videos, and the mention of better visibility in bright situations should be a sign the viewfinder and/or back display is seeing an upgrade for better usability in daytime shoots.
There is some debate as to whether the screen is a tilt-screen (either the Z6/Z7-style or the Z8/Z9-style), or a flippy screen (the Zf-style), and to be honest from the teaser video either is still probable at this stage since the angle the shot was taken did not show anything too conclusive. Given its video-oriented specs, I do supposed a flippy-screen of some sort should make its way into the final design of the Z6III, but as a mainly stills shooter I really hope that if an articulating screen was implemented they could do it similar to the A7RV style so that at least for horizontal stills the screen and the viewfinder are still centered with the lens.
But two physical specifications were quite clear from the teaser video - there is a PASM dial in a similar location to that of the current Z6II, and it comes with a rectangular slide-in eye-cup rather than the circular ones. Personally I have no issues with this since I am already used to the same handling and form-factor of the Z6II, though I do really hope that the official Z-GR1 grip which I am using now still works with the new body.
While we would still have to wait until the official release for detailed specifications and changes to be confirmed, I do hope to see at least a couple more teasers before the announcement next week to have a small taste of what else is in stores for us!
Challenges in Designing Kit Lenses
Earlier this year Petapixel had an interview with someone from Nikon’s engineering department, and one of the topics they had talked about was the challenges faced when designing kit lenses.
Personally I found this part of the interview very insightful as this is a topic no one had talked about openly before, and while subconsciously I had a vague idea of why certain decisions were made, reading the comments made from the engineering division itself definitely put things in perspective.
To briefly summarize what this particular section of the interview was about, Ohshita-san (from Nikon’s Third Designing Department in Nikon’s Optical Engineering Division) mentioned that the design and manufacture of each lens has to be considered individually, and depending on what their identified target audience was they would tune the performance and specifications towards their needs.
He continued by saying that among these, kit lenses were the most challenging to make, as they had to be made affordable, lightweight and compact, and yet be able to showcase what the system is capable of and have an impactful first impression for new users to the system.
Truth be told, the term “kit lens” does not usually bring about a good impression of a lens, analogous to how the first zoom lenses made were vastly inferior to their prime counterparts, and most users (including myself at the beginning of my photography journey) view kit lenses as a cheap lens that comes with the body that works just OK.
Reading through this particular point mentioned in the interview, it did make me stop and appreciate the effort that went into designing a kit lens that is bound by so many different constraints, especially these days whereby many high performing kit lenses are available that do not compromise on image quality.
Looking back at when the Z6 and Z7 were first launched, it became quite clear why the 24-70/4S was the first lens to be launched together with the new mount and bodies - they had to provide a lens that could perform very well throughout its zoom range so as to portray what the new mount was capable of, yet they also had to make sure the lens had a small enough footprint to maintain the image of mirrorless cameras being more compact and convenient, and all of this with a severe price constraint slapped on it as it was meant to be a lens paired with the initial bodies to bring new users to the system.
As the lens lineup grew over the years, many people (including me) did move on to other primary lenses by outright replacing the 24-70/4S or upgrading whilst still keeping it as a backup; mainly with the 24-70/2.8S or the 24-120/4S.
This was only possible, in my opinion, because when the 24-70/4S was launched it showed the promising potential of the new mount and new technology used in the optical design, so it was easier to convince users of the Z-mount to upgrade to a different primary lens based on one’s needs, knowing that the whichever path chosen there would not be heavy compromises on the image quality.
If we look at the current FX standard zoom lens lineup for the Z mount, we can argue that there are many other lenses that could be paired as a kit with a Z body these days - and that is definitely the case whereby in different bodies have different “kit lenses”, which also differ by country and region as well.
If we take a look at the offerings in Japan, for the FX Z-bodies, we have/had these kits available:
Z5 with 24-50/4-6.3 or 24-70/4S or 24-200/4-6.3
Z6 (discontinued) with 24-70/4S
Z7 (discontinued) with 24-70/4S
Z6II with 24-70/4S (not available at launch - available much later after the Z6II’s initial launch)
Z7II no kit option
Z8 no kit option
Z9 no kit option
Zf with 40/2 SE
Some other countries and regions do have different kits available, and unfortunately I do not have any information as to why such a marketing decision was made. I do sometimes envy the other regions where you could obtain the 24-120/4S as a kit - it is totally not an option here at all!
Anyway minor rant aside, now with the Z6III launch upcoming, I do foresee that it could be available as a kit, which brings the question which lens would it be coupled with?
While I think that without a doubt the 24-70/4S and the 24-120/4S are definitely prime candidates as kit lens for the Z6III, either both kits are available or only one of them is available is up for debate - one being a more budget friendly version, whilst the other being a more versatile all-in-one lens.
However, I do think that if Nikon plans to market the video specs of the Z6III, as according to the rumored predictions are supposed to be class-leading for this price bracket, it would not be surprising to also see a launch of a PZ-styled zoom lens that is more catered towards the video market (similar to the DX 12-28/3.5-5.6 PZ), and having that offered as a kit with the Z6III as well.
Which might also perhaps explain why the Z6III seemed to have its launch delayed?
Nevertheless, moving back to the main topic on kit lenses in general, I think that I can understand why a kit lens is so important in a brand’s lineup, as it acts as a showcase example of what is possible to users which would lead to potential upgrade sales down the road. And for this I think my respect for kit lenses - and the amount of thought given into designing and manufacturing them by the engineers, have gone up significantly.
Nikon Z6III Release Finally Imminent?
Seems like there is quite a bit of buzz ongoing recently regarding the Z6III’s release, which is predicted to happen very soon according to Nikon Rumors.
Earlier this year I did mention that I expected the Z6III to arrive before spring, similar to reports and speculations from all over the net. But when Nikon Japan suddenly launched a new spring cashback campaign (which was surprising considering one campaign had just been concluded in January) that would end at the start of May, it became pretty obvious that the Z6III would not be launched in the period that all of us were expecting, and the earliest we could expect it would be in early summer after the cashback promotion has been concluded.
So winter and spring both came and went without much buzz about the Z6III, and now finally there seems to be movements going on behind the scenes to prepare for the launch.
While these are just my own observations, there are some circumstantial evidences that seem too coincidental to just completely regard them as mere coincidences.
Namely speaking:
The spring cashback campaign ended after the Golden Week holidays here (7 May) - and past product announcements had happened around a month after a cashback campaign has ended.
Nikon’s official online store used to sell new Z6/Z7 as “outlet items” (i.e. discounted discontinued products), and they are now no longer available.
Similarly the online store used to sell Z6II/Z7II refurbished sets, and they are also no longer available now.
The showroom will be temporary closed on 10 June and 17 June, with all its services and facilities not available on these two days. While no exact reason was given, it may be a training session for the new products or a closed door touch and try event?
The web store is down for server maintenance from 3 June 10:00hrs to 4 June 13:00hrs. Looks suspicious to have down time during work hours?
Perhaps I might be reading too much into things, but these circumstantial evidences just seem to suggest something is happening.
I personally am looking forward to the new body - I am sure the Expeed 7 processor would bring about a lot of quality of life improvements from the Z6II, which can be seen in the Zf too. Truth be told, I would be totally satisfied even if the Z6III turns out just to be a Zf skinned in a modern ergonomics, since I have found the Zf performing very well on all fronts as I tried out the demo sets in the showroom, but I just could not see myself putting up with its ergonomics for long days of work with heavy lenses (as well as having a slow-ish microSD slot for backup).
That said, while I am definitely am considering adding a Z6III as my main body, I do not think I would be pre-ordering this time round, as it seems that in Japan there are more incentives to purchase it after the initial wave (like having the Z8 coupled with B1PRO 165GB CFe, or the Z9 coupled with Nikon 660GB CFe, which were not available for early adopters)
Nikon Rumors has done a great job consolidating information from reliable sources regarding the Z6III’s specs, so if anyone is interested I do recommend visiting the post here to have an idea of what to expect for the camera!
Personal Impressions on Nikon Z 100-400mm f/4.5-5.6 VR S Lens
So right now it is pretty much Sports Day season in most schools in Japan, and my daughter had hers last weekend. I decided to rent a copy of the Nikon Z 100-400/4.5-5.6S lens last weekend to cover the event since I doubt my 70-200/2.8S would provide enough reach for me (and am indeed thankful I went ahead with the rental!).
It was my first time handling the lens outside of the shop demo context, and there were many new interesting observations that I made when using the lens this time round that I did not notice when I played with it in the camera shops/showrooms in the past:
The weight and physical length of the lens at 100mm is pretty similar to that of the 70-200/2.8S, so I got accustomed to the lens’ weight distribution pretty much the moment I picked it up.
The wider girth of the lens, together with the more forward placement of the control ring, did make me accidentally hit either the manual focus ring or the control ring more often than I would like - I had to turn off both the MF in AF mode option and the custom control ring function to prevent any accidental setting changes.
AF locks on very fast, even on the Z6II I was using it with.
AF accuracy, however, did have some interesting quirks - when shooting a burst of slightly static (i.e slow moving) subjects while testing, usually in a burst of 5 shots in AF-C single point mode there would be 1 or 2 shots in the middle of the burst that lost focus. I thought this would be caused on the VR recentering itself in VR normal mode, so I changed to VR sport mode and accuracy got better, although still not at 100%.
For portraits at 400mm Eye-AF worked better than single point AF, as I guess any minute vibrations that caused framing changes would be compensated by the subject detection shifting the AF points via subject detection.
At portrait distances the lens renders very nicely with crisp details, regardless of focal length chosen, both wide open or using it as a “constant 5.6” lens.
At longer “sports distances”, and using it nearly exclusively as a 400/5.6 lens, the lens does exhibit some sharpness drop, and some slight AF accuracy drop. Though in all honesty it could also be due to user error on my side too as I could not pan the camera fast enough for the AF to lock properly.
And finally I also learned that 400mm is indeed hard to control!
It was definitely a fun experience shooting with that lens, especially more so when watching the little one playing around too.
The lens is also every bit as phenomenal as I expected it to be, albeit with some handling quirks, and I am glad that I went on ahead to rent it for the event as my 70-200/2.8S would never be able to provide enough range.
That said, my experience this time also reinforced the idea that I am not suited to be a sports photographer lol.
** Side Note:
For anyone looking for short-term camera equipment rentals in Japan, I definitely recommend checking Map Rental out! Their pricing is reasonable and have a very wide selection of equipment to choose from.
A handful of kits also qualify for monthly rental special rates, which could prove to be cheaper than going by daily rates when renting for a more than 2 weeks or so. However, for equipment that do not qualify for the special rates, the daily rates do stack up quite a bit for longer rentals, so other services that offer “monthly rental” or “monthly subscription rental” might prove to be more wallet friendly though!
(I am not affiliated with them in any way, just wanted to share this information from my good experience with them)
Tamron 35-150mm f/2-2.8 VXD for Nikon Z-mount
This was one of the lenses that I had been envious of Sony users for a long time, and when the Z-mount version was announced in September 2023 I was definitely excited and grateful that Tamron had decided on this lens as one of the earlier ports to the Z-mount.
Having this lens would be a great help in solving my problem of having to switch between the 24-120/4S and the 70-200/2.8S during shoots - not that these 2 lens are slouches, and in fact I love using both of the lenses very much, but if I could have one lens that could do the work of both it would make me more efficient and also allow more options for me to include things like prime lenses in my double set-up.
That being said, having had a slightly negative experience being an early adopter (looking at you Z8 strap lugs), I decided to wait a bit for normal user reviews to roll in to see how the lens performs with the Z-mount bodies.
Based on the E-mount version’s reviews and user feedback, the general consensus on the lens has been positive with regards to the sharpness and overall image rendering, and I do not expect much difference between the E-mount and the Z-mount variants regarding the image quality.
Personally the few areas that I had interest or concerns in are:
How fast and accurate is the autofocus in normal modes and subject detection modes for Z bodies?
How fast and accurate is the autofocus in pin-point mode?
How prone is the lens to zoom creeping?
How weather resistant is the lens? (The exposed USB port seem like a weak spot to me)
After renting the lens for a bit to determine if it could properly act as a replacement for my 24-120/4S and 70-200/2.8S pair for assignments, there are some interesting observations that I encountered:
The lens boots up slow - even slower than the 24-120/4S. However, it is even way slower when waking up from sleep, so much so that many times I thought I had forgotten to turn on the Z6II I was using it with.
AF-S, AF-C and subject detection modes on the Z6II were pretty consistent and accurate, so I do not have much issues there with it.
AF-S pinpoint on the other hand is a slightly different story - perhaps the motor is not properly suited for racking contrast autofocus, but it feels sluggish and does miss focus a little more than I would like (I’d say in the range of 5% or so during my time with it)
Field curvature seems pretty strong on this lens, so using focus-and-recompose methods (even if it is a slight recompose) tend to make the initial focal plane soft - best to frame first and move the focus point (or use subject detection AF modes) to the intended subject and focus.
With proper focusing techniques, images are sharp in the focus zone and background blur is generally pleasing. While it lacks the minute detail acuity of the Nikon S-line lenses, the lens resolves detail very well and I think deserves praise for being able to do so given such a wide zoom range.
While I mentioned that background blur is generally pleasing, specular highlights sometimes show strong signs of onion rings within them.
The lens hood does feel and look like it can be scratched really easily.
I still do not like the idea of an exposed USB port.
While I think I might need some time getting used to its quirks (especially the field curvature), I am definitely pleased with the performance of the lens, and can see it being my primary workhorse lens with the 24-120/4S and 70-200/2.8S helping to fill in certain niche use cases.
After returning my rental unit I went on to purchase one copy for myself, and am definitely looking forward to working with the lens and trying out new combinations of set-ups to improve my workflow and quality of work!
Nikon Z8 Firmware 2.01 Released
Earlier today Nikon released a minor firmware update (2.01) for the Z8.
The firmware can be downloaded at the official Nikon page here.
This minor firmware update changed the default encryption keys of the camera, which is similar to the recent wave of firmware updates that have been released for the other Z bodies.
And the main attention of this minor update is to fix the issue regarding the d-pad panning the image in wrong directions when used in vertical mode. (I have written about this in more detail in this post over here).
One interesting note of this patch is the fixing of green color cast with some pictures taken. While I personally have not encountered it myself (and thus not sure what combinations of settings would trigger it), I am wondering if they changed the imaging algorithm a bit in FW2.00 since there has been some buzz in forums and discussion boards about FW2.00 RAW files looking cleaner and less noisy at higher ISOs. There is no concrete evidence so far to substantiate the high ISO improvements as far as I know, so take this statement with a pinch of salt.
That said, I am really curious what are the conditions that would trigger the green color cast. Hmm..
Spring Is Finally Here
Seems like after a long delay, spring is finally here.
March had been riddled with strange weather patterns this year, starting with warm temperatures at the start of the month, and then suddenly having steep temperature drops starting from mid-March.
The bizarre weather pattern has caused the famed sakura trees to bloom very late this year, with Tokyo announcing the official start of blooming only just a few days ago.
As the temperature stabilizes and the flowers start going into their full blooms within the next few days, without a doubt it will be a spectacular sight to see.
While I have no exact authority to say this, I would just like to put this out here - please be nice and considerate when enjoying the view, and as much as you want to get a picture perfect shot, please do not pull the branches or flowers, or worse shake the tree just for your 5 seconds of fame.
I have had seen enough bad behavior regarding people trying to get their perfect shot through means of trespassing private areas or doing inconsiderate things like climbing trees or what not, so I really do hope that such behavior can be eradicated so that everyone can enjoy the views and be respectful of nature itself.
So yup, be considerate, be mindful of others, respect privacy and rules, and go ahead and enjoy the splendid views of Japan’s beautiful spring scenery!
Tamron 28-75mm f/2.8 Di III VXD G2 for Nikon Z-mount Announced
Tamron has just announced their latest Z-mount lens, the wide-aperture standard 28-75mm f/2.8 Di III VXD G2 lens.
Official press release here in English and Japanese.
According to reports and reviews of the E-mount version, this G2 lens has significant performance and handling improvements over the G1 lens that precedes it. And given that the G1 lens acted as the basis of the current Nikon Z 28-75mm f/2.8 lens, I would expect similar improvements of the new lens over the Nikon version.
With increasing lens prices throughout the board, I thought that it was a very refreshing breather to see this new lens being released in Japan at reasonable prices, similar to the current Nikon Z 28-75/2.8, and not that different from the E-mount version of the G2 lens at launch.
To be honest I was quite surprised about this announcement, since this lens was manufactured by Tamron under licensing agreement with Nikon, even though it would be competing directly with the Nikon Z 28-75/2.8, which is still an active model in the lens lineup.
I think there is no doubt that the Nikon Z 28-75/2.8 is based on the G1 version of the Tamron lens, but when it came in Nikon colors, there were many theories floating around the internet about who was the one actually building the lenses, and similarly predictions about the collaboration and agreement between the two companies started to find their way around too.
I do not think any one except for the parties directly involved in the negotiation and manufacturing processes would know exactly how the Nikon Z 28-75/2.8 was built.
So now that we have the 2 lenses in very similar price brackets, and assuming this G2 lens provides improvements over the Nikon Z lens similar to that in the E-mount camp, image quality and AF performance would definitely favor this new G2 lens, making the current Z 28-75/2.8 a tough sell unless serious sales or cashback campaigns are put in place to move them.
If not for pricing difference, I guess the only reasons one could still consider the Z 28-75/2.8 would be:
Preference over the Nikon-styled rings and barrel material, over the Tamron-styled rings and barrel material
Nikon’s SIC lens coating vs Tamron’s BBAR lens coating
Nikon’s weather sealing vs Tamron’s weather sealing
Being able to update the lens directly via camera body (Nikon) vs being able to update the lens directly via USB-C (Tamron)
Nevertheless, the launch of this lens also set an important precedence - it shows like Nikon does allow third party lens manufacturers to license lenses even if they are direct competition to Nikon’s own offerings.
This would mean that until now it has been the lens manufacturers who are unwilling to build things in the Z-mount, rather than being restricted by Nikon.
Anyway, time to go back to my previous post to add a little edit in the available standard zoom lenses for the Z-mount.
Nikon NIKKOR Z 28-400mm f/4-8 VR Officially Announced
Nikon has just announced their new superzoom lens for the Z mount, the Nikon NIKKOR Z 28-400mm f/4-8 VR.
Official press release statements can be accessed here (in English and in Japanese), as well as the product page here (in English and in Japanese).
Based on the technical specifications released, the new lens weighs in at 725g, is 141.5mm long with 77mm filter threads.
Comparing this with the other Z superzoom already on the market, the Z 24-200mm f/4-6.3 VR, which comes in at 570g, 114mm length and takes 67mm filters, the new lens is no doubt larger and heavier, but provides twice as much reach in the telephoto range.
MTF curves seem reasonable for a superzoom of modest aperture values - the new lens looks to have good contrast in the center of the frame with significant sharpness falloff outside the DX circle, and the telephoto side is a weaker performer than the wide side of the lens. The curves predict that fine detail resolution would deteriorate really fast once out of the center of the image circle, which is typical for most superzooms I think, and we will only know the extent of it after production samples get into the hands on reviewers and consumers I guess.
With this release, Nikon users now have an expansive selection of standard lenses to choose from, depending on one’s needs and budget:
24-50mm f/4-6.3 = smallest sized standard zoom
24-70mm f/4 S = compact standard zoom balancing size and quality very well (collapsible design)
24-70mm f/2.8 S = no-compromise standard zoom focused on image quality and focus speed
24-120mm f/4 S = moderately-sized 5x standard zoom that provides flexibility with very good performance throughout
24-200mm f/4-6.3 VR = 8.3x superzoom in a modestly compact size with good performance throughout
28-75mm f/2.8 = lightweight f/2.8 standard zoom
Tamron 28-75mm f/2.8 G2 = improved version of the Nikon 28-75mm f/2.8 with better image quality and AF motors
28-400mm f/4-8 = 14.2x superzoom in a modest size
Having such a wide focal length coverage, I can foresee this lens being a popular lens for travel, or even as a all-in-one backup lens of sorts for working professionals.
One interesting note is its close focusing capabilities - it can focus down to 0.2m at the widest focal length (28mm), at which a magnification ratio of 0.35x is achieved. This would certainly come in handy for anyone using it for travel, since close-up shots of food and what not are possible in tight spaces without the need for a closer focusing lens, cementing its position as a do-it-all lens.
Anyway just for reference, here are the minimum focus distances at the various focal lengths:
28mm = 0.2m
35mm = 0.36m
50mm = 0.5m
70mm = 0.57m
105mm = 0.6m
200mm = 0.8m
300mm = 1.2m
400mm = 1.2m
Images of the lens show that the lens does extend very significantly when zoomed in, which is to be expected as it covers such a wide range of focal lengths. I guess it might be problematic for video users to balance it on a gimbal, so definitely a point to take note when considering this lens.
While the aperture values will not win any prizes for fastest superzoom lens produced (according to reports it slows down to f/8 at the 200mm mark), it seems like a pretty economical and convenient way to get access to the 400mm focal length, if the performance of the lens at that focal length meets one’s needs or demands.
That said, I think it is asking for the impossible to expect this lens to produce images like the S-line primes or S-line zooms, so one has to consider if the convenience of having a large focal length is more important that ultimate image quality at the expense of lugging extra weight and/or changing lenses in the field.
Oh, and did I also mention that the lens comes with a square hood? I actually like the design of the hood a lot lol.
**Edited on 2024/3/28 to include the newly announced Tamron 28-75mm f/2.8 G2 in the list.
Sigma 50mm f/1.2 DG DN Art Officially Announced
Just a couple of hours ago Sigma has officially unveiled and announced their latest lens for mirrorless cameras, the Sigma 50mm f/1.2 DG DN Art, which would be available for L-mount and E-mount at launch.
Here are the links to the official press release (in English and Japanese), and the product information page (in English and Japanese).
Based on the released technical specifications of the lens, it looks like they have managed to keep the entire package pretty compact for a f/1.2 lens, and the MTF charts show a very high performance of the lens’ resolving power. Sample galleries seem to agree with that too, and it looks like Sigma has created a winner in their hands.
I have enjoyed using Sigma products during my DSLR days, and one of my favorite lenses from them is the 35mm f/1.4 DG HSM Art lens. And my experience with their customer service was pleasant and positive in the few times whereby I had to reach out to them for maintenance or calibration, so this is one company that I would always have a soft spot for.
It is really nice to see Sigma innovate in their quest to create quality modern optics for mirrorless cameras, by utilizing the advantages of the short flange distance as well as focus-by-wire AF systems to create more complex optics that were not possible in the DSLR era.
While previously, Sigma Art lenses were well-known to be behemoths (I’m looking at you 105mm f/1.4 DG HSM Art), their recent lens releases for mirrorless cameras seem to reflect their growth as an optics manufacturer as they embark on using more sophisticated optical designs and techniques to bring size and weight down.
While it is unfortunate that this lens is not coming to the Z-mount at launch, and to be honest I doubt that a native Z-mount version of this lens would ever happen, I am certainly looking forward to see what other lenses Sigma would create and bring over to the Z-mount.
Are We Getting Too Hooked on Camera Firmware Updates?
I have been wanting to write a piece on this issue for a while now, and it just happened that earlier today a new firmware update came out for the Z6II (FW1.62 here) and Z7II (FW1.62 here), and observing the reaction online spurred me to write this piece today.
So the firmware updates this time round addressed a couple of bugs regarding the camera’s operation, and also implemented some minor changes in its wireless connectivity settings.
Definitely nothing major, but personally I appreciate the effort made by Nikon to address these glitches and improving operation stability for everyday use.
However, there is so much noise about how this firmware update is too minor, and a FW2.00 with proper AF updates should be the one being released.
Gosh, seeing how people keep repeating the same thing every time a minor update is out is really unbearable.
I, for one, definitely appreciate that issues are fixed as soon as possible in the forms of minor updates, instead of waiting for a release with a larger update.
And in this particular case, not once has Nikon promised a FW2.00 update for the Z6II/Z7II, but just speculation from users and online keyboard pros.
Would I be happy if a FW2.00 came out for my Z6II and brought about improved AF algorithms and new features? Definitely!
But I bought my Z6II knowing well its limitations and capabilities, and any other feature that is added via FW would just be a touch of nice gesture from the manufacturer.
Similarly for the Z8, I also purchased it knowing that it promised similar levels of performance of its bigger sibling, the Z9. Z8’s FW2.00 came as a surprise as it added a ton of new features and customization to the camera, and while I am in no doubt very satisfied with the new features implemented in Z8’s FW2.00, none of them were promised from the beginning.
Would a theoretical Z8 FW3.00 bring new features that we have not thought of? Very highly probable. Would Z8 end at FW2.00 and only bug fixes be released in the future? Equally probable too, I would say.
I still remember those days whereby a firmware update for DSLR was so rare that, normally only critical bugs are fixed.
Some may argue that cameras these days are more “computer” than “camera”, and to that point I agree whole-heartedly also. However feeling entitled to constant major firmware updates that would implement new major features every time is just asking for the impossible.
And at least over here in Nikon we do see some major firmware updates every now and then, and we have also seen that Nikon tries to put the best and newest software features into the flagship Z9 first before it trickles down to the other models.
Be glad for that, as over in the orange camp, their flagships are not getting that much love, and the noise due to this is even worse there.
tl;dr - Purchase a camera based on what it is capable of at the time of purchase, and be glad that the manufacturer is even making an effort to fix minor bugs. Any major firmware update that implements new features should be seen as a nice privilege, rather than feeling absurdly entitled for them.
/end rant
Hardware Monitor Calibration and ICC Profiles
Just chanced upon this video while looking for some other information regarding ICC profiles earlier on, and thought that it might be an interesting share to post here.
Q&A on Switching ICC Profiles on Hardware Calibrated Displays (opens external YouTube link)
This video talks specifically about why ICC profiles are still required even though a display is hardware calibrated and have LUTs stored within the monitor, and under what circumstances should users change the ICC profile.
While the video uses a hardware calibration capable BenQ display, the concepts and insights shared here are applicable to most, if not all, hardware calibration capable displays (like the EIZOs with Color Navigator).
Please take note that the principles and concepts shared are not applicable to software based ICC profiling with LUTs by using a hardware display calibration device, but rather for a display that is capable of saving LUTs within the display itself.
To briefly summarize the main points in the video,
A hardware calibrated monitor should have an accompanying ICC profile, which usually contains only the gamut information of the calibrated display.
Changing just the brightness of the display while all other gamut/color settings are kept identical do not require a change in ICC profile.
Changing to a calibration slot with a different gamut (like from sRGB to AdobeRGB), the corresponding ICC profile has to be selected and loaded into the OS.
For EIZO users, if Color Navigator is active when you change the calibration slots, the proper ICC profile would be loaded into the OS automatically.
So to extrapolate the information from this video a little,
When using a hardware calibrated monitor (not same model, but the exact same monitor) on multiple PCs, it is advised to load the ICC profile on all the PCs so that the OS and software know how to map the colors to the display’s gamut.
It is simpler to just calibrate to the widest gamut the display can show (native in most cases), and let the ICC-aware software you are using handle the conversion of colors when the proper corresponding ICC profile for the native gamut is loaded.
I think Art, the author behind this video, did a wonderful job explaining and demonstrating, and this video is definitely worth your time taking a look at if you are running a color managed workflow.
Live View Exposure Preview Settings for Nikon Mirrorless Cameras
Just remembered that I did not write an update to my previous blog post requesting for a quality of life update in the live view exposure preview settings for the cameras.
To briefly recap, the initial batch Nikon Z mirrorless bodies that were based on the Expeed 6 CPU (Z5, Z6, Z7, Z6II, Z7II, Z30, Z50, Zfc) have the option to turn on or off live view exposure preview (under custom settings), which simulates and shows changes in the captured images’ exposure when shutter speed/aperture/ISO is changed.
However even when set to “On”, whenever a strobe or TTL-compatible commander is detected in the hotshoe, this setting would be nullified and switched off as the cameras assume that it would be used in a studio setting; i.e. it is a low light environment with strobes as the main light source so live view exposure preview is not needed.
This however creates a slight inconvenience for people using strobes or on-camera flashes as fill light, as we still want to know and expose for the ambient light, and the strobes are just there to fill in the shadows. I mentioned previously that I got around by setting one Fn button to toggle the a “Forced Flash Off” function, and use it to quickly check for ambient exposure.
With the Expeed 7 bodies (Z8, Z9 and Zf as of writing), this particular feature has been improved, with the user being able to now decide between having it automatically turned off when a strobe is attached, or keep live view exposure preview on even with strobes attached - exactly what I had been clamoring for!
But with Firmware 1.60 for the Z6II and Z7II, this particular setting is now available and does really improve the handling and efficiency, and I personally am really glad that user feedback had gotten through to them.
As this setting is slightly obscured with slightly different names depending on the CPU version, I have briefly compiled the instructions on how to check and activate them here:
Z6II/Z7II (FW1.60 and above) - go to Custom Settings d9 “Apply settings to live view”, choose “On”, press the right d-pad key, and choose either “Always” for persistent preview, or “Only when flash is not used” for automatic toggling. Detailed instructions can be read on this official page.
Z8/Z9/Zf - this option is available to all these 3 bodies from their initial production firmware, under the name “View Mode (Photo Lv)” within the Custom Settings menu, but their exact location in the menu is dependent on current firmware version - as of writing, Z8 FW2.00 is under d9, Z9 FW5.00 is under d10, Zf FW1.10 is under d9. Select “Show effects of settings”, and press the right d-pad button to choose between “Always” for persistent exposure preview or “Only when flash is not used” for automatic toggling.
As of now the 3 DX bodies (Z30, Z50, Zfc), as well as the first generation FX bodies (Z5, Z6, Z7) did not get an update to their live view exposure preview setting, so unfortunately they still have an automatic toggle to Off whenever a flash is detected in the hotshoe. I would certainly be elated if an update comes out for the first generation FX bodies, though definitely not keeping my hopes too high for that.
My Opinions on Nikon’s RED Acquisition
Just a couple of days ago a surprising announcement appeared in the late afternoon here - Nikon has acquired 100% of the cinema camera maker RED, making RED a wholly-owned subsidiary of Nikon.
Most of us definitely did not see this coming, so the news caught a lot of us off-guard, but in a very good way - it brings confidence to users as it shows Nikon’s commitment to improve and diversify their product lineup by expanding into the high-end movie making market and bring new video technology into their products.
I personally have not used RED products as I am not into video shooting, let alone high-end movie making, so I do not have any first hand experience or insights on RED products.
But the impression I had of RED was that they were a brand primarily associated with high-end videos and movies, with technologies such as global shutters and compressed RAW to improve quality and workflow of such productions.
Granted that the patent lawsuit (which was ultimately dismissed) a while back between RED and Nikon regarding the RAW video recording of the Z9 did somewhat paint a slightly negative image of RED, they do own rights to other technologies and have an established team of experts and technical specialists which would definitely help with development of Nikon’s video capabilities.
As I mentioned earlier I am no video shooter, and this acquisition in all honesty does not impact me directly as of now, but I do am quite intrigued with how things will turn out from this point on:
I am sure adding a Z-mount to RED cameras is already in the roadmap, so it comes down to whether there will be a new line of Nikon Cinema lenses developed to accommodate them?
RED currently holds a license to create cameras with RF-mount. Though highly improbable, going forward would we be able to see official RF-Z mount adapters?
I am pretty sure RED’s video technology would trickle down to the Z-system cameras. Seems interesting to see how RED RAW and N-RAW could be further developed or integrated together.
The access to RED’s global shutter sensor design could bring global shutter to the photography-oriented cameras sooner than anticipated.
Focus-by-wire has improved a lot compared to the past, and has opened up new options and possibilities such as employing multiple focus groups working in tandem without complicated mechanical couplings or large increases in physical size, eliminating focus breathing in the process too. Moving forward I am eager to see how else it can be innovated which will be beneficial to both stills and videos.
Any form of healthy competition between manufacturers would definitely bring about new innovations, and as end-users of cameras I am certainly looking forward to seeing new technology or workflow improvements brought forward by Nikon or other manufacturers due to this acquisition.
Photography Etiquette
Just read a couple of articles regarding the infamous “Geisha paparazzi” in Kyoto. (original articles here on CNN and Petapixel).
It sounds sad, and, if I may also add, makes one look really desperate when trying to flock these ladies just to get a few snaps to share on your social media.
Looking at the video embedded in the Petapixel article, it just looks as though a group of photographers are waiting for a parade to pass by in a theme park. No, these are not cast characters - these are just regular people on their way to work, and should be given at least the decency of their own privacy and space.
You can argue that the streets are public and laws do allow general photography on public spaces. You can argue that as long as no trespassing of private properties or any physical contact is done there are no laws broken. You can argue that these ladies chose to walk the path of a Geisha and having their shots taken should not come as a surprise.
The arguments are definitely sound, but I just hope there is still some sense of etiquette, or at the very least, human decency, to not cause any distress to the ladies or commotion in the streets.
Just really disheartened to read about this news, and it would be unfortunate for everyone if new laws and rules were to be enacted that eradicated all forms of photography in that area.
While this is just one example, it seems like such behavior has become more rampant recently in various places.
I am not advocating everyone to stop shooting or dismiss street photography entirely, but just, please shoot while being considerate and respectful to your subjects and surroundings.
Nextorage NX-B2PRO CFexpress 4.0 Type-B Cards Announced
Just read that earlier today Nextorage has announced their CFexpress 4.0 Type-B cards, the NX-B2PRO.
According to the official page, the NX-B2PRO comes in 4 capacities, and while all of them are VPG400 certified, they do have slightly varying max speeds and sustained speeds:
165GB : Max Read 3,900 MB/s, Max Write 3,600 MB/s, Min Sustained Write 3,400 MB/s
330GB : Max Read 3,900 MB/s, Max Write 3,600 MB/s, Min Sustained Write 3,400 MB/s
660GB : Max Read 3,700 MB/s, Max Write 3,600 MB/s, Min Sustained Write 3,400 MB/s
1330GB : Max Read 3,700 MB/s, Max Write 3,600 MB/s, Min Sustained Write 3,200 MB/s
CFexpress 4.0 specifications doubles the theoretical bandwidth of current CFexpress 2.0 cards (actual press release of CFe 4.0 here; you can read my write-up on it here), and while none of the current camera bodies are capable of using CFe 4.0 speeds in them, the standard being backwards compatible means that it does make sense to purchase a CFe 4.0 card for future proofing.
I have had very good experience with Nextorage cards so far, and their customer support was efficient and helpful when I contacted them prior to my first purchase with them to learn more about the cards, so I definitely am glad that they are one of the first few to have CFe 4.0 cards ready and available.
With this release, they now have a simple to understand line-up for CFe-B cards:
B1SE - Standard CFe cards with decent max speeds, but low minimum sustained write speeds (discontinued)
B2SE - Successor to B1SE; standard CFe cards with improved max write speeds and minimum sustained write speeds
B1PRO - High performance pSLC CFe 2.0 cards with high max speeds and high minimum sustained write speeds.
B2PRO - High performance pSLC CFe 4.0 cards with high max speeds and high minimum sustained write speeds.
B2SE cards do offer a really good cost performance per GB if you do not require high speeds for video or high fps shooting, and definitely would recommend them (especially the 512GB version) for anyone looking for a high capacity card that is plenty fast.
The B1PRO is a great card to use with the Z8 (and I would assume the Z9 too), as even shooting in moderate bursts at high FPS in lossless compressed RAWs, the buffer does not stutter and remains responsive throughout its operations. It also remains relatively cool throughout - both during shooting and when offloading from the reader to the PC.
The B2PRO with higher speed ratings, almost double in fact, means that using them in current equipment now should make them run much cooler than the B1PRO since the speeds are way below their theoretical threshold.
Which brings me to wonder the following:
Will there be a B3SE based on CFe 4.0 standards too? This could be a good way to get high speed high capacity cards with good cost/GB ratio.
Will future Z cameras come with a CFe-B primary slot, and a SD+CFe-A hybrid secondary slot? If CFe-A slots run at CFe 4.0 specifications it would be performing at current CFe-B speeds now, so not much compromise on speeds need to be made.
Anyway definitely looking forward to reading B2PRO’s reviews, and keeping my eyes on it when it is time to replace or add more cards to my kit.
What Happened to Crumpler Products in Japan?
Just really curious about what happened to Crumpler products in Japan.
I own several Crumpler bags, from simple messenger bags that I used when I was in college, to camera bags and laptop bags that I still use now.
One of the ones that I still use frequently now is the Flying Duck Sling 4000 bag, as it is a very lightweight bag yet provides adequate protection, on top of being the perfect size for my kit when I need to go compact.
If I remembered correctly they used to have a flagship store here in Tokyo, but during COVID I guessed the dealership contract with the official distributor here in Japan ended and was not renewed, so the flagship store is gone and most, if not all, products have been pulled from shops and retailers.
It’s really quite disappointing as I do really like their products for their practicality and toughness, and their camera-oriented products have always been well-regarded and are reasonably priced as well.
I do sincerely hope their products will make their way back here again soon.
Detailed List of Nikon Lens Hoods
I would like to share this useful information on older Nikon lens hoods.
A list of Nikon lens hoods, originally compiled by Rick Housh, and further maintained by Ed van de Zilver currently, consists of very in depth information about the lens hoods made specifically for the older Nikon lenses.
The list can be accessed directly on Ed van de Zilver’s website here.
[Update 28/03/2025: The page on Ed van de Zilver’s site seems to have gone down for several months now, and since I had gotten prior permission from him, I have reproduced his list on my page here. If anyone knows how I can contact him again please let me know.]
While it does not cover the more current bayonet hoods (HB- prefix hoods), which anyway is very specific in shape and size to their respective lenses, it is a useful reference to know which lens hoods to get for older manual focus or AF-D lenses.
The list also goes one step further and includes two extra information, which is extremely handy to know - the diameter of the front of the lens hoods, and the depth of the lens hood.
I say this because most of the older lens hoods now are now out of production, and may be hard to find even on the used market.
So if you look for after-market third party generic lens hoods, knowing the original front diameter and depth of the lens hood can give a good estimation on whether a generic lens hood would cause vignetting on your lens.
** Side note: Just in case you are wondering what the prefixes of Nikon lens hoods mean:
HN- : Screw-in Lens Hood (nejikomi)
HS- : Snap-on Lens Hood
HR- : Rubber Lens Hood
HK- : Slip-on Lens Hood (kabuse)
HB- : Bayonet Lens Hood