Nikon DF vs. D700 vs. D610 vs. D800: Which Should I Buy?

Nikon has put potential buyers on quite a pickle by having so many FX dSLRs available in the $2000-$3000 price range. Right now, there's the nearly 2-year old D800, the just-released D610 (which is essentially a re-warmed year-old D600), and the brand new old school DF. Throw in 2008's D700, which is now a bargain shopper's model and, presto, lots of research to do! So, with so many cameras and so little money, which is a photographer to buy?

Well, let's examine that question.

Construction:
DF: metal, sealed
D610: metal and plastic, sealed
D800: metal, sealed
D700: metal, sealed
The D600 is a little bit wimpy


Sensor:
DF: 16Mp
D610: 24Mp
D800: 36Mp
D700: 12Mp
All have more than enough for 99% of people reading this


Aspect ratios:
DF: 1
D610 1:
D800: 2
D700: 1
Pros will appreciate the D800


Maximum ISO
DF: 204,800
D610: 25,600
D800: 25,600
D700: 25,600
DF wins by a light year


Max shutter Speed
DF: 1/4000^th sec
D610: 1-4000^th sec
D800: 1/8000^th sec

D700: 1/8000^th sec
D700, D800 are a stop better


White Balance:
DF: 12 preset, 4 custom
D610: 12 preset, 4 custom
D800: 12 preset, 5 custom
D700: 12 preset, 5 custom
D700 and D800 by a nose


Viewfinder coverage:
DF: 100%D610: 100%
D800: 100%
D700: 95%
New wins


Viewfinder magnification:
DF: .7x
D610: .7x
D800: .7xD700: .72x
D700 by a hair


AF Points:
DF: 39
D610: 39D800: 51
D700: 51
D700, D800 win here

LCD:
DF: 3.2”, 921k dot
D610: 3.2”, 921k dot
D800: 3.2”, 921k dot
D700: 3,” 921k dot
Newer is better, but will you even notice?

Built-in flash:
DF: no
D610: yes
D800: yes
D700: yes
DF loses


Continuous drive:
DF: 5.5fps
D610: 6fps
D800: 6fps
D700: 5fps, up to 8fps with battery grip
Get the grip and the D700 wins by a mile


Exposure Compensation:
DF: +/- 3 stops
D610: +/- 5 fps
D800: +/- 5 fps
D700: +/- 5 fps
DF looks decisively limited

Video:
DF: no
D610: 1080p
D800: 1080p
D700: no
Old and old school lose


Storage:DF: single SD
D610: SDx2
D800: SD, CF
D700: single CF
2 slots are better than one


Wi-fi connectivity:
DF: yes
D610: yes
D800: no
D700: no
Older loses

GPS:
DF: optional
D610: optional
D800: optional
D700: no
Newer wins

Weight:
DF: 760g
D700: 1074g
D610: 850g
D800: 900g
DF wins here

So, which to buy? Unfortunately, that's hard to determine without considering one's needs.

If absolute speed is a top priority, the old D700 with a battery grip trounces the competition here. Believe me, an extra 2fps can make all the difference between getting and missing that shot for anyone who spends a lot of time shooting fast action.

If resolution is far and away your number one concern, get the D800 because, at 36Mp, it bests the others by at least 50% extra resolution.

Like to shoot in dimly lit settings? Well, then the DF, with its insane ISO 204,800, is 3 stops better than the competition (even though those last 2 stops are sure to suck at anything bigger than web size or a 4x6 print). Still, a picture is better than no picture, right?

Have lots of really old gear laying around? The DF can use any Nikon F-mount lenses ever made (and without modification) with full compatibility. On the others, all of the non-AI optics need a modification to work properly.

On a budget but want a current camera, then the D610 is your horse.

Problem: a lot of would be buyers' needs aren't as clear-cut as those listed above, which means that there is a lot of need to take the above considerations into account as well as the control setups, which couldn't be more different. Rather than writing a whole new piece about this, simply take a look at my D7000 vs. D300s summary as it could be thought of as D700/D800 vs. D610 as the D700 and D800 share essentially the same interface as the D300s while the D610 and D7000 are very similar to each other, too. As for the DF, loses the dedicated white balance and quality buttons of the D700/D800 buy gains dials on the top for ISO, shutter speed, and exposure compensation, 3 controls the other cameras lack.

All in all, there's a lot to consider when one is about to drop $2000+ on a camera. Hopefully, the above analysis helped as much as possible. Personally, I'd take the above advice into consideration when going to a store in order to do a 'test drive,' which is the best way imaginable to see if you'll actually like a camera or not.

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Will There Ever be a Nikon D400, Canon 7D Mark II?

What will the Nikon D400 and/or Canon 7D Mark II look like? Will there even be such cameras in the first place? Well, to be honest, many in the photographic community (myself included) are thinking that, if 2013 doesn't bring these cameras, they may never show up at all. 

Honestly, I'm not holding my breath on either camera, and I don't think you should, either (especially with November having just arrived).

Introduced way back in 2009 as an answer to the Nikon D300 (in light of Canon getting caught with its pants down with both the EOS 40 and 50D models) the Canon 7D was in many ways, the pro-grade APS-C camera that Canon shooters had been demanding for years. With a feature set clearly comparable to the Nikon D300, the 7D sent a clear message: Canon was serious about its APS-C line, after all. Selling for $1,800 new, the 7D has come down quite a it in price in the intervening 4 years since release and is looking rather antiquated by 2013 standards. Unfortunately, there's a big problem for people looking for a 'II' version: the $2100, full-frame EOS 6D which, despite being a 5D Mark II reheated in the technological microwave, is still a full-frame dSLR for just over $2000. Additionally, the trend toward increasingly affordable FF (what all APS-C shooters lusted for a decade ago) is undeniable, which begs the question: is there any point (and enough of a customer base) of offering a $1800 sub-frame camera when a FF model can be had for just $300 more? My bet: probably not.

Even older than the Canon 7D is the Nikon D300s, which is technically the same age as the Canon 7D (both 2009 releases) but in reality 2 years older as the D300s is merely a D300 (2007 release) with video. Throughout the digital era, Nikon has had a habit of adding various letter designations to established nameplates in order to create a new, stop-gap replacement model until a major overhaul of the old camera can be perfected. Typically, these letter models have production lives of less than 2 years. Well, the Nikon D300s is rapidly approaching its 4^th (or is it its 6^th?) birthday, which begs the question: is the D300/D300s the end of its branch on Nikon's evolutionary tree? My bet: yep. Unlike the 7D, which faces a single-front attack, the D300s is fighting a 2-front war against the D7100 on the lower side and the D600 on the higher side. Initially priced at $1800, the D300s sits smack in the middle of the $1200 D7100 and the $2100 D600, which both share a lot of features with the D300s. Result: Nikonians have 2 options here: pay a little more than the D300s and get a FX sensor, or save some money and get an in many ways (save user interface) superior D7100.

The bottom line here: both cameras are being kept afloat solely by their rung on their respective manufacturers' product lineups. Yes, the 7D and D300s may be slotted higher than the 70D and D7100, but one must remember that the 70D and D7100 are both less than a year old while the 7D and D300s are 4 (or 6?) years old meaning that one is paying all that extra money for the snob appeal of having a higher-tiered model, never mind the fact that these higher-level cameras are obsolete when compared to today's cameras.

Bottom line: its now or never for a Nikon D400 or Canon 7D Mark II and personally, I wouldn't hold my breath waiting for either to show up in the first place.
 

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Astronomical News Galore!

It's going to be a big weekend in the astronomical world this weekend. First up: tomorrow morning brings the return to Standard Time (never mind that 'standard' is only 4 months of the year!) So, don't forget to set your clocks back an hour before you go to bed tonight. Later in the morning, there will be a hybrid solar eclipse (the eclipse will go from an annular to total eclipse as it moves along the path of totality) that will start in the Atlantic Ocean and conclude in Africa. The good news: you can watch the event live online!

For some fun:
Time Change Trivia

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Nikon D600 vs. D610: What are the Differences?

Recently, Nikon announced the somewhat unexpected update model of its D600 'affordable' dSLR: the D610, which comes to market scarcely a year after the D600 (along with the Canon EOS 6D) shattered previous pricing barriers for full-frame dSLRs. So, with the new camera starting to make its way to retailers just in tie for Christmas, many are asking this question: should I buy a D600 or a D610? Well, let's look at the differences.

Construction:
D600: plastic and metal, sealed
D610: plastic and metal, sealed

Sensor:
D600: 24Mp
D610: 24Mp

Aspect ratios:
D600: 1
D610: 1

Maximum ISO
D600: 25,600
D610: 25,600

Shutter Speed:D600: 30-1/4000th second, bulb
D610: 30-1/4000th second, bulb

Viewfinder coverage:
D600: 100%
D610: 100%

Viewfinder magnification:
D600: .7x
D610: .7x

AF Points:
D600: 39
D610: 39

LCD:
D600: 921k dot, 3.2”
D610: 921k dot, 3.2”

Touch screen:
D600: no
D610: no

Built-in flash:
D600: yes
D610: yes

Continuous drive:
D600: 5.5fps
D610: 6fps
WOW! A DIFFERENCE!

Exposure Compensation:
D600: +/- 5
D610: +/- 5

AE Bracketing:
D600: 2, 3 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps
D610: 2, 3 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps

WB Bracketing:
D600: 2 or 3 frames in steps of 1, 2 or 3
D610: 2 or 3 frames in steps of 1, 2 or 3

Preset WB settings:
D600: 12
D610: 12

Custom WB Settings:
D600: 4
D610: 4

Video:
D600: 1080p up to 30fps, 720p up to 60fps
D610: 1080p up to 30fps, 720p up to 60fps



Wi-fi connectivity:
D600: optional
D610: optional


GPS:
D600: optional
D610: optional


Weight:
D600: 30 oz.
D610: 30 oz.

Needless to say, there's not a whole lot of differences on the spec sheet. An item of note: Nikon claims to have tweaked the white balance algorithm to provide, according to them, even better performance. Well, we'll see on that. Personally, I think my now 5-year old D700 does perfectly fine for that matter.

So, should you get the D600 or D610? My answer: whichever is cheaper at your preferred vendor as the cameras are essentially the same.

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200,000 Hits: Wow!

I've been having a lot of problems with my Internet connectivity of late, hence the complete lack of anything for the past month. Well, the web finally cooperated yesterday and, surprise, I saw that my little for-fun website had just eclipsed the 200,000 hit mark! Holy cow! Honestly, I never thought I'd be seeing anywhere near this number of hits so soon especially considering that I started this whole thing as just an online storage backup for my astrophotography. Well, not quite 4 years and over 200,000 hits later, all I can say “thank you!” to all of my readers. Hopefully, you've found my stuff at least a little useful (and hopefully my wi-fi will cooperate better soon)!


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In-Depth Review: Sigma 35 f1.4 DG HSM Art

Tech Specs
Focal Length: 35mm
Dimensions: 3.7 x 3.0 in. 
Weight: 23.5oz.
Maximum Aperture: f1.4
Minimum Aperture: f16
Diaphragm Blades: 9 (rounded)
Front Element: non-rotating, non-extending
Optical arrangement: 13 elements in 11 groups
Autofocus Mechanism: HSM
Closest Focus: 11.8 inches
Maximum magnification: .19x
Filter Size: 67mm

'A' is for Art.

Background
At Photokina 2012, Sigma announced that it was revamping its lineup. Gone would be the plethora of acronym designations ind arriving would be a much simpler, 3-designation system. One of the new lines of lenses was the 'Art' series, designed for the serious photographer who values the utmost potential for creativity. At announcement of the lineup reboot, Sigma announced a 3 new lenses, one for each category. At the time, Sigma had long been producing a highly-regarded 30mm f1.4 exclusively for sub-frame cameras, so a similarly specified enlarged optic for full frame/film did not seem so out of the blue. The big question: would the new lens live up to the hype? 

Metal mount, distance window, manufacturer-grade construction.

Build Quality: 5/5
The Sigma 35 f1.4 DG HSM Art is built to very high standards that put it on equal footing with many current manufacturer lenses. As for construction, the lens is built on a metal mount and the barrel seems to consist of both metal and plastic sections. The lens features just a single switch to control the AF, making for a very clean look. There is also a recessed distance scale behind a window, a feature that, just a handful of years ago, would have been unheard of on a third-party lens. As for feel, the lens is a pleasure to shoot with as it features ample grip in both a ribbed, rubberized focus ring as well as a similarly-textured rear barrel. All in all, you won't have to worry about your sweaty/wet hands slipping off of where you want them.

Survivability
This lens contains electronics and is focused by a built in motor, which will eventually die. If you want this lens, but it factory new with warranty as Sigma will have to fix it for free if it breaks within the warranty period and for a cost even out of warranty so long as parts are available.


See Also: Weather-Resistant Sigma Lenses

Other side of the lens. Note the ribbing on the rear barrel.

AF Performance: 5/5
Focus is as fast and accurate thanks to Sigma's Hypersonic Motor (HSM) AF drive. Additionally, being a ring-type motor, the HSM mechanism allows for full time manual focus simply by grabbing and turning the focus ring, no need to flip a switch. In reality, the AF/MF switch can be thought of as more of an AF/AF disable switch.

Optics: 5/5

Sharpness
This lens is sharp, really sharp, and across the whole frame to boot! Initially looking at my pictures, I had to check the EXIF data to make sure that the pictures that I thought were shot at f1.4 were actually shot at f1.4! As for the performance, the lens is sharp right from the get-go at f1.4 in the center and mid portion of the frame with slight softness in the corners. Stopping down to f2 results in the corners catching up to the rest of the frame while f2.8 results in optimal sharpness across the frame as the center and mid frame areas are slightly (emphasis: slightly) sharper than at wider apertures. All in all, Sigma has quite an optical gem, even better than the legendary Nikkor 28 f1.4 AF-D, which says a lot!

Vignetting
The lens does feature some obvious light falloff at f1.4, which is no real surprise considering that just about every f1.4 lens features this downfall. Yes, Sigma could have designed the lens with a 77 rather than a 67mm filter, but it's a lot easier to simply stop down the optics to f2 to reduce the problem significantly or f2.8 to eliminate it altogether than to carry around an even bigger, heavier lens.

Note: the vignetting wide open can also be used to create some cool effects in your pictures, such as increased subject isolation (flower) and an overall dreamy look (trail).

Distortion:
Very minimal and should be of no distraction.


CA
Virtually nil.

Only a tiny spot of green flaring shot right into the Sun.

Flare/Ghosting
Virtually nil here even in the most extreme conditions.

That smooth boken is a result of 9 rounded aperture blades.

Background Blur
Thanks to those 9 rounded diaphragm blades (above), background blur is silky smooth (below).

Astrophotography

Infinity focus is actually infinity! Simply turn the focus ring until it stops and you'll have perfectly-focused stars all night!

 Manually focus to infinity and forget it!

Oh yes, the lens can AF on the Moon, too!

Value: 5/5
Simply put, where else can you get a currently produced 35mm f1.4 lens for FF/film for under $1,000? Answer: nowhere but here. Oh yes, the Sigma 35 f1.4 DG HSM Art is also a one heck of a lens, going to make it an even better bang for the buck.

Competition
When it comes to the 35mm f1.4 market segment, there is lots of competition as this is a very popular focal length lens among photographers. Canon, Nikon, and Sony all make such optics. Unfortunately, I haven't gotten to play with any of them, which means that I can only give second-hand comparisons. Reading reviews of the competition vs. the Sigma, the Sigma seems to be every bit as good (some sites say even better) than the Canon and Nikon optics while the Sony is widely considered to be a $1300+ dog. If you're a crop cam shooter, skip this lens and get Sigma's highly regarded 30 f1.4 as it costs a lot less and is a lot smaller and lighter as it's only designed to cover a sub-frame imaging circle.

No light? No tripod? No stabilizer? No problem!

Conclusion: 5/5
By reading this far, the final conclusion should be a no-brainer: Sigma has really outdone itself on this one as the 35 f1.4 DG HSM Art is, without doubt, the best lens I have ever used! What else is there to say? The optics are truly superb, the AF is the best offered via current technology, the build is on-par with manufacturer lenses, and the price? Well, while it is not cheap at $900, you'll pay far less for Sigma's wonder lens than for the similar manufacturer optics that have no real advantages except for snob appeal. To put it plainly, I you shoot with FF digital and/or a compatible film camera and need the best, fast wide-standard lens around, look no farther than the Sigma 35f1.4 DG HSM Art. . 

Samples

Sigma Fan? Check Out These Reviews:
Sigma 24-105 f4 DG HSM OS Art
Sigma 100-300f4 DG HSM Apo

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Canon 70D vs. 7D: Controls and In-Hand Feel

Should I buy a 70D or 7D? That's the question many are facing after Canon announced the latest of its popular xxD line of mid-level dSLRs: the EOS 70D, which replaces the almost 3-year old 60D, which was greeted with a lot of groans upon announcement. With the 70D, Canon upped its game and the camera's performance, meaning that the 70D is more of an upgrade from rather than a successor to the 60D, which begs the question: how does it stack up against an aging, price falling, yet higher-tiered EOS 7D?

Well, let's have a look.

First up: on the specification sheet, the cameras are very similar, with the real differences coming down to construction quality, viewfinder size, and the 70D's new (untested) sensor. This all aside, there's another area that needs to be addressed: the controls and in-hand feel, which couldn't be more different.

For starters, the cameras are pretty much about the same size. With that, the similarities end. So, let's progress to the differences.

 The 7D and 70D: top view

Looking at the top of the cameras, things look pretty much the same, at first. On the top left, looking at the mode dial, there are some differences in what the cameras offer. On the mode dial, the 7D offers three user-defined settings while the 70D offers only one. On the other hand, the 70D offers a scene mode control and a flash disable option. That aside, all square.

Progressing to the right of the camera, things get more different. Both 7D and 70D have a control wheel and shutter button in just about the same place. As for buttons, the 7D has 5 while the 70D has 6. From there, the differences increase. By looking above the buttons on the cameras, one sees that those on the 7D are dual in function while those on the 70D are single, which could be a good or bad thing either way. Opinion aside, let's look at the differences.

The main difference here: the 70D loses direct access control to the white balance and bracketing options. For inexperienced shooters, this will not be a big deal as most would be content to leave the camera in auto WB most of the time and probably not even touch the bracketing button. For more advanced photographers, this could be a put-off. Additionally, both cameras have a button just behind the shutter, with the 7D's being a multi-function, customizable button and the 70D's being for controlling the AF point pattern. Which is better? Your call there.

Moving to the back of the camera, things couldn't be more different. 

The 7D and 70D: back view

On the top right of the camera, things are the same with the movie on/off button and the functions of the 3-button grouping on the top right corner. Another similarity: a quick control dial lock button on the bottom right. Beyond that, all's different.

The reason for the completely different control layout s a practical one: the 70D's articulating LCD screen, which necessitates the removal of all buttons along the left side of the camera, which is exactly where they are with the 7D. On the 70D, these buttons have been moved to the right side of the LCD screen. As for the buttons themselves, the 70D has fewer than the 7D. On the 70D's chopping block: the additional file button and picture style control. Another difference: the joystick on the 7D has been incorporated into the quick control dial on the 70D. Streamlining or cutting? Your call, but the differences on the back of the two cameras are there and very pronounced. Another thing to think about: the left vs. right side placement of the buttons themselves.

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