Nikon 1 V2 photos, videos

Nikon 1 V2 launched by Nikon
Here is photos of Nikon 1 V2

Best Sprinter Of All Time Used a Nikon To Celebrate His Gold

Best Sprinter Of All Time Used a Nikon To Celebrate His Gold


Usain Bolt who just won his 5th Olympic gold medal tonight decided to celebrate it in a very unique way. Instead of just running and waving to his fans like most athletes will do, he decided to celebrate by taking pictures. Right after winning the gold at the 200m race, he took a Nikon D4 from photographer Jimmy Wixtröm (Aftonbladet newspaper, Scandinavia) and just started shooting his teammates, his fans, and other photographers and members of the press. Awesome way to celebrate greatness.

Below are the images of Bolt enjoying his new toy – but make sure you check out the photos he took – great results on the track, and also outside of the track.

Photo: Reuters

Photo: Reuters

Photo: AFP

Photo: Harry How / Getty Images

Photo: Harry How / Getty Images

via Yahoo

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Muhammad Usman Arshad

Nikon 28mm f/1.8G lens now shipping

Nikon 28mm f/1.8G lens now shipping
By [NR] ADMIN | Published: MAY 23, 2012

The new Nikkor 28mm f/1.8G lens is now shipping in several European countries and the US.

Amazon has already some in stock from third party resellers with a $100 premium.




Source: Nikon Rumors

Nikon D800E video samples show stunning resolution in 1080p

Nikon D800E video samples show stunning resolution in 1080p
Monday, 07 May, 2012 20:10

If you are waiting for the out of stock Nikon D800 – it seems your wait might have to go on for a while yet – since the D800E might be the one to get.

The lack of anti-aliasing filter does not seem to make moire and aliasing in video mode any worse. There’s nothing very noticeable here in this video despite all the fine detail like hair, bricks and fabrics. Rather, it has a positive affect and fine detail really pops.

I wasn’t expecting fine detail to be this clean on the E… Removing the anti-aliasing filter seemed like a recipe for disaster. But this footage is very encouraging. When you also bear in mind this is compressed footage from in-camera, rather than via the Atomos Ninja, it truly seems like a very nice result from the rare ‘E’ version.

I recommend clicking the link below to Vimeo and downloading the full 1920x1080p file.

Mosaic Engineering are working on an anti-aliasing filter for the D800, so if you do need to add one later to your ‘E’ that will be available before long (the prototypes are already in the wild).

I’ve been busy the past couple of weeks so haven’t had chance to test my OLPF-less 5D Mark III against a Nikon D800, 5D Mark II or standard Mark III yet but the tests and final conclusion are coming before long. If you are in / near Berlin and have a Nikon D800 or D800E let me know, I’d like to do a shootout with my OLPF-less 5D Mark III and your Nikon! The D800 is out of stock everywhere at the moment and like gold dust.

Nikon D3200 with D800 image processor for $699, Peter Jackson answers The Hobbit criticism / Zeiss anamorphic for September

Peter Jackson answers The Hobbit criticism / Zeiss anamorphic for September / Nikon D3200 with D800 image processor for $699
Sunday, 29 April, 2012 on EOShd


Peter Jackson is unfazed by criticism The Hobbit looks un-cinematic by saying the clips shown at Cinemacon were unfinished and their duration not long enough for the audience to acclimatise.

Speaking about the 10 minutes of EPIC shot footage in 3D at 48fps which is the source of the criticism, Jackson remarks:

“It does take you a while to get used to. Ten minutes is sort of marginal, it probably needed a little bit more. Another thing that I think is a factor is it’s different to look at a bunch of clips and some were fast-cutting, montage-style clips. This is different experience than watching a character and story unfold… I personally wouldn’t advocate a 48-frame trailer because the 48 frames is something you should experience with the entire film. A 2 1/2 minute trailer isn’t enough time to adjust to the immersive quality.”

According to the Hollywood Reporter article, Jackon watches dailies at 48fps every day, sometimes up to 2 hours worth.

“You get used to it reasonably quickly,”

Jackson says that having aclamisted to the new frame rate he feels the shortcomings of 24fps more and more.

“I’m very aware of the strobing, the flicker and the artefacts.”

Presumably the artefacts he mentions are related to 3D 24p. He goes onto explain that the footage at Cinemacon had not gone through the final post production process and that the final film would look a little less like I Claudius HD.

“We have obviously seen cuts of our movie at 48 and in a relatively short amount of time you have forgotten (the frame rate change). It is a more immersive and in 3D a gentler way to see the film. We are certainly going to experiment with different finishing techniques to give the 48 frames a look that is more organic. But that work isn’t due to start until we wrap photography in July”

The footage is being shot in 5K on the EPIC, and lacks the traditional motion blur associated with film’s 180 degrees shutter at 24p.

Simplistic and dream-like or glossy and crisp? I suppose it a sense I like my art to be primal, raw and primitive and the constant march of technology and my urges for better images run counter to that. Maybe it is time to take stock and look at the old cover of The Hobbit below (though not the original 1937 first edition version – that was even more primitive!) to realise what we’re missing in many modern motion pictures.

A very similar thing has happened in the evolution of video games – in the way the touch of the human hand during the retro days of hand draw sprites has been swept away by more and more photo realism, 3D and high frame rates. There will always be room for the artistry of a human hand however primitive and much as I love technology, 2D cinema is going nowhere in my opinion. And this isn’t some nostalgia thing!


Via the BBC
Source Hollywood Reporter

Prototype Zeiss anamorphic coming at IBC in September 2012

From a Zeiss product manager:

We only showed a Concept Anamorphic at the NAB Show. [This] Concept anamorphic is the result of a technical study which shows advanced and outstanding 
technology which is already well improved and will be further developed and focused by our
 product management. We decided to name it a concept following the example of the automotive industry.
 We will show a first prototype on IBC 2012 in September and release all the technical details as well.

Thanks Stéphane

Nikon D3200

The Nikon D3200 could be interesting for DSLR video shooters not ponying up to recent pricey models such as the Nikon D800 and 5D Mark III.

I’m curious about this camera because it partners a ‘Nikon developed’ version of Sony’s NEX 7 sensor with the very capable EXPEED 3 processor – the same found in the D800 (and $6k flagship D4) which does a rather good job of video (at least in the D800!). How will it compare to the already very capable NEX 7?

The camera also has a few ‘bonus’ features that you wouldn’t expect for the price – like on screen audio meters and full manual control of video, PAL / NTSC worldcam switchable 24p and 25p, 60p in 720p and a 921k LCD. ISO goes all the way to 12,800 in video mode.

HDMI is fit for monitoring but isn’t clean of icons so no external recording to the Atomos Ninja on this one (unless the final firmware is adjusted to support this).

It is unlikely to offer a better image in video mode than the GH2 but it is worth keeping an eye out for proper sample footage (not heavily compressed YouTube stuff) ahead of its release in May.





Source: EOSHD.com

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Why Nikon Built the D3200

[Editorial] Why Nikon Built the D3200


I have seen a lot of remarks and questions as to why Nikon released a 24 megapixel consumer camera. Why did they pack so many megapixels into a crop sensor? The ISO performance is likely to suffer (though we won’t know for sure until we test it out). The smarter move? Keep the megapixels the same and increase the ISO performance. So why didn’t Nikon do this?
Because ISO performance doesn’t mean anything to the consumer market. Nikon was going for a sticker-shock of sorts. Nikon didn’t build this camera because it was the photographic tool the world needed or was asking for. No, Nikon built and released this camera for one reason only: to take down the Rebel.
Before I continue, let me again state, for the record, that I am a Canon boy. I love Canon. I’ve been shooting with a Canon for over 10 years. I shot with a Nikon FN back when I was using film, but when I transitioned to digital I was and have since been all about Canon.
Canon’s top selling camera line for years has been the Rebel series. Rebel is a great success story. For a small, cheap, light digital SLR, it’s fantastic. Its price point is perfect, and beginners and soccer-moms alike have flocked to the Rebel for years. Its pricing made it perfect for a new model every year, giving Canon consistent revenue. The Rebel is the last Canon camera to hold fast in the top 5 sellers spot on Amazon.com. It is a thorn in Nikon’s side, and Nikon is tired of it.



Nikon knows how consumers think. Big numbers, flashy videos, and low prices (and maybe Ashton Kutcher) sell cameras. To take down the Rebel, they would need to beat it at its own game. In order to do that, they slapped a crazy (and arguably unnecessary) 24 megapixels into a $700 package that includes a lens. That’s not only cheaper than the Canon T3i, but the numbers on the surface make it look like a much better camera. Sure, aside from the megapixels, the actual specs aren’t that different. But think of it this way: You’re a beginner without a lot of money and you want what appears to be the best you can afford. That, in this case, would be the Nikon. For an entry-level shooter or soccer-mom, there isn’t a very compelling reason to choose the Canon now, especially if the impending Rebel T4i doesn’t look to hold up in the sticker-shock-megapixel race:
“Other unconfirmed specs show the camera to be 18.1mp and running DIGIC 5, which should improve noise performance and overall image quality. I’m told we won’t see a new APS-C sensor until the 60D and 7D replacements are addressed.”
-Canon Rumors
Canon looks to be doing the right thing, which is increasing the actual quality of the image. However, many consumers are under the false impression that megapixels mean everything. That said, Canon touting a better sensor can easily be overshadowed by the “mine is 24 megapixels and yours is only 18” people.
I have no doubt that the D3200 will fly off the shelves at Best Buy like hotcakes. But what remains to be seen is if those sales can unseat the Rebel.
If you want to be one of the first to get your hands on this camera, you can pre order it from B&H Photo and Amazon.com now.
What do you guys think? Do consumer cameras matter?







Source: FStoppers.com
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Nikon 28mm f1.8G - Preview

Nikon 28mm f1.8G - Preview
















Nikon Nikkor 28mm 1.8G f1.8 wide angle prime announced preview depth of field DOF, Nikon, Nikon AF-S Nikkor 50mm 1:1.4G review, Nikon AF-S Nikkor 70-200mm 1:2.8G ED VR II, Nikon 1 series, Canon and Nikon,

Nikon D3200 hands on preview

Nikon D3200 hands on preview



What Digital Camera's First Look video of the Nikon D3200, filmed at the UK Press launch in London on 18th April 2012.
Read our full story on the D3200 at whatdigitalcamera.com


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BlackMagic 2.5K Cinema Camera with 12bit RAW for $3000 - The downfall of the big guys just began

The downfall of the big guys just began – BlackMagic 2.5K Cinema Camera with 12bit RAW for $3000
Monday, 16 April, 2012 18:58
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Above: Bearing a resemblance to the Box Brownie, the BlackMagic Design Cinema Camera will be available July for $3000

For too long the big corporate giants from Japan have been neglecting a huge burgeoning demand for a true next generation filmic camera for the masses… Despite stumbling ass backwards into it in pole position.

Now a company with a fraction of the resources best know for their external recording boxes (like the Hyperdeck Shuttle) BlackMagic Design has dropped a bombshell. They have entered the digital cinema market with a $3000 cinema camera that records 2.5K RAW with 13.5 stops of dynamic range to an SSD, with Thunderbolt and HD-SDI. A true next generation camera.

In terms of the camera

Sensor size is a little like the GH2′s Micro Four Thirds 16:9 multi-aspect CMOS. It sits between Super 16mm and the GH2. It isn’t quite as large as Super 35mm but it isn’t far off. The whole area of the sensor is 16.64 mm x 14.04 mm and the recording area for video is 15.6 mm x 8.8 mm.

In terms of concept this is like a Digital Bolex but it ships in July with a large sensor. (I want that project to succeed just as much as this but how many must now be asking Kickstarter for their money back?)

The raw recording format is CinemaDNG 12bit. Pretty amazing. What is more – for those whose workflow / hardware is not ready for raw, the camera also records to ProRes and Avid DNxHD.

The LCD is a capacitive touch-screen like the iPhone which should be pretty responsive and allows you to input custom metadata… But I’d have preferred to have seen more physical controls for ISO, shutter, etc.

The lens mount is compatible with EF glass because it seems to be a longer 44mm-like flange, as on the 5D Mark III. To be honest that tube could do with being hot swappable down to a bare mirrorless mount with a flange under 20mm for compatibility with more lenses and a PL mount. Not sure if it is. The EF mount includes electronic control for aperture in much the same way Metabones does it for Sony E-Mount.

A very nice addition is HD-SDI and Thunderbolt (a first for any camera). These are great inclusions at this price point and makes the camera even more appealing to any pros dissatisfied with DSLRs. Thunderbolt makes use of the transfer speeds the camera’s SSD media is capable of delivering, which will come in handy for massive raw files.

In terms of the filmmaker

This is just a picture making box. Like Apple, BlackMagic seems to get that adding simplicity rather than complexity makes for a better product. It is a machined aluminium block and the crucial interface ports are just as robust. HD-SDI is far better than HDMI. Audio connectivity is provided by 2x 1/4″ plugs which is more an audio recording studio standard than camera – these can easily be pulled out accidentally but they’re more robust than 3.5mm jacks and audio quality should not be an issue with these. The headphone jack though is 3.5mm like an iPhone.

This camera will be hot… It will sell out instantly. It will get hyped to death.

It is important to remember that this camera is a 1st generation product by a company new to the camera market.

As such – although it breaks the mould and sets the tone for future products, it is probably not going to be perfect or as good an all-rounder as more mature products from larger companies.

Will I be ordering one? Yes of course! Unless there are any huge image quality issues and the low light really sucks, it has a place in my bag because of 2.5K 12bit raw.

In terms of the market

This camera sets the cat amongst the pigeons to say the least.

Canon recognised a need for large sensor cinema cameras but priced them for Hollywood and left DSLRs to rot. With Canon it seems they have tunnel vision. The announcement of the 4K DSLR with no 4K 25p, only 24p proves this. Nobody outside Hollywood or Japan exists! It is like building a car for a worldwide market and having it leave the factory with 3 wheels. Some, like Nikon, took 3 years to realise there was even a market! Some like Red aimed at the market but failed and went back to the Hollywood glitterati, their natural home. Blackmagic Design meanwhile could so easily have priced this raw camera at $10,000 and still sell out but the fact they didn’t is hugely significant.

The Blackmagic Cinema Camera may well clean up. DSLRs have a serious rival now.

To price it high would have made a massive margin and they’d still have sold out for months. But it would be penny wise, pound foolish in the long run. It is the price that makes this camera such big news. Up against the might of Arri, Canon and Sony, a company like Blackmagic would have had a very hard time of winning market share at $10k+ but the sub $3000 market is crying out for this kind of product.

Then having established themselves here, they have the foundations and reputation for a higher end model.

Some rivals are already pushing into the future like Sony, whose FS700 is very appealing and seems to have significant benefits over the Blackmagic in terms of 4K, slow-mo, low light and a larger sensor but no raw 12bit. In the end it will all come down to image quality, workflow and price.

Source: EOSHD.com
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If you live in Norway, you better pre-order the Nikon D800 before the upcoming price increase on April 1st

If you live in Norway, you better pre-order the Nikon D800 before the upcoming price increase on April 1st
By [NR] ADMIN | Published: MARCH 29, 2012

As previously suspected the Nikon D800 price in Norway will be going up according to this banner posted on the Norwegian online store fotovideo.no. Nikon D800 pre-orders placed before April 1st will be eligible for the current price. The D4 was not mentioned, but I believe its price will go up as well.

Curious to read the official statement - another "system error" two months after the camera was officially announced?

At that point I believe there is a very good chance that more countries will get a price increase for the D4 and D800 cameras.

Update: there could be also a D4/D800 price increase in Sweden and Denmark.

Update #2: The Nikon D800 price increase in Norway is over 12%: from 22,185 to 24,990 kr.

Read more : NikonRumors.com

Nikon D800 vs D3s and D7000 comparison by Cary Jordan

Nikon D800 vs D3s and D7000 comparison by Cary Jordan
By CARYTHELABELGUY [NR] | Published: APRIL 10, 2012

Nikon D800 vs. D3s and D7000 by Cary Jordan (Web | Flickr | Personal FB page |The Jordan Collective’s FB Page | Twitter)

There is no question the Nikon D800/E is a spectacular camera. But just how well does the D800 stack-up against the venerable Nikon D3s? What about in DX crop mode; how well does it fare against the D7000? We now know the new Nikon D800 has a bad case of multiple personality disorder. The D800 is several different cameras, rolled-up into one very sleek and attractive body.

Let's examine just how well the D800 performs when down-sampled to 12.1 megapixels to match the un-defeated high-ISO king, the Nikon D3s. In addition to this comparison, we're also going to put the Nikon D800 against the current APS-C DX crop champion, the Nikon D7000.

Nikon D800 vs. Nikon D3s

The D800/E is capable of achieving amazing amounts of detail at its native resolution of 36.3 million pixels. This is great for studio and landscape work or anything that warrants this kind of resolution. However, the final output doesn't always need to be the native resolution of 36.3 MP. What we've found is the D800 has excellent Dynamic Range combined with excellent high-ISO noise characteristics, giving us the ability to down-sample when need-be, while retaining all of the high-frequency detail captured by the high-resolution sensor. We know that down-sampling an image helps to reduce noise (especially luminance noise), so we reap the benefits of lower noise andbetter detail, while retaining the D800's excellent Dynamic Range (DR) when down-sampling. A down-sampled image that has more high-frequency detail is a better candidate for noise-reduction via software (Lightroom 4, Topaz DeNoise...etc) and can handle more aggressive noise reduction, while still retaining high-frequency detail that's usually lost during aggressive noise-reduction.

For this comparison, we shot both cameras at the same respective exposure, ISO, aperture and white balance and set both cameras to the "STANDARD" Picture Control with no additional capture sharpening, contrast, brightness, saturation or hue. Both cameras were shot in RAW(NEF) format and developed into a high-quality 8 bit JPEG format using Capture NX2 with zero High-ISO Noise Reduction.  The D800 shots were then opened in Photoshop and down-sampled using Photoshop's "Bicubic Sharper" algorithm to 4256 x 2840 px to match the D3s' native resolution. No other sharpening was performed (click on any image to enlarge it).

D3s vs D800 12mp ISO1600 Crop 1

D3s vs D800 12mp ISO3200 Crop 1

D3s vs D800 12mp ISO6400 Crop 1

D3s vs D800 12mp ISO12800 Crop 1

D3s vs D800 12mp ISO25600 Crop 1

As you can clearly discern, the D800 image retains much more high-frequency detail throughout the ISO range. The D3s does beat the D800 in luminance noise by about a third-stop, with chrominance noise being significantly worse in the D800's files above ISO-12800. As stated above, the D800's file can handle much more aggressive noise reduction, while retaining much of its detail, which will result in a better overall file than the D3s until about ISO-25,600. At this point, the D800's files are riddled with amp noise which is destroying most of the high-frequency detail advantage it had over the D3s, making the D3s a better option from ISO-25,600 and up (The only way the D800 can go above ISO-25600 is by "pushing" in post).

While the D800's DR is supremely impressive at base ISO (ISO-100) to about ISO-800 (about 14.3EV @ ISO-100), it falls off at higher ISOs. This is where the D3s shines; the D3s has less DR fall-off at upper ISOs, but several stops less DR at base ISO as compared to the D800.

While the D800 doesn't quite beat the D3s in high-ISO noise handling when down-sampled to 12.1 MP (without noise reduction), the D800 will clearly out-perform the D3/D700 sensor in noise, sharpness, detail and DR, at every ISO, when down-sampled to the same resolution of 12.1 MP.

Let's look at a different set of D800 vs. D3s crops, this time focusing on the high-frequency detail in the books on the bottom shelf.

D3s vs D800 12mp ISO1600 Crop 2

D3s vs D800 12mp ISO3200 Crop 2

D3s vs D800 12mp ISO6400 Crop 2

D3s vs D800 12mp ISO12800 Crop 2

D3s vs D800 12mp ISO25600 Crop 2

Once again, you can clearly see the high-frequency detail advantage the D800 has over the D3s, when down-sampled to 12.1 million pixels. Look at the dark brown book on the left side of each crop; the D800 clearly renders the detailed fabric cross-hatching @ ISO-12800 and can just barely be seen @ ISO-25600. The D800 files are sharper and retain more high-frequency details at every ISO.

Nikon D800 vs. Nikon D7000

While the D800/E is 36.3 MP in FX mode, the D800/E has a DX (1.5x crop) mode, which is 15.4 MP. The Nikon D7000 is a 16.2 MP APS-C DX format camera that currently sits atop the APS-C camera heap, having the best performing APS-C sensor in the world, based on the Sony Exmor 16.2 MP sensor (this 16.2 Sony Exmor sensor is used in several other cameras on the market). Since the D800 has a DX crop mode that's roughly the same resolution as the D7000's sensor, we wanted to see how the D800 performed in comparison to the D7000. Please keep in-mind, the D7000 does have a slightly higher resolution, although not by much.

The D800 has a pixel pitch of 4.88µm, while the D7000 has a pixel pitch of 4.78µm, the .10µm is almost insignificant, which means the pixel pitch is roughly the same in both cameras, with the D800 having a slightly larger pixel pitch. This also helps us come to the conclusion that the D800/E sensor is based on a Sony Exmor design, although this is still yet to be confirmed, but is widely rumored to be true.

As with the D800 vs. D3s comparison, we shot both cameras at the same respective exposure, ISO, aperture and white balance and set both cameras to the "STANDARD" Picture Control with no additional capture sharpening, contrast, brightness, saturation or hue. Both cameras were shot in RAW(NEF) format and developed into a high-quality 8 bit JPEG format using Capture NX2 with zero High-ISO Noise Reduction. No other sharpening or post-production was performed.

Let's examine the D800 vs. D7000 image comparisons (click on any image to enlarge it):

D800 vs D7K ISO1600 Crop

D800 vs D7K ISO3200 Crop

D800 vs D7K ISO6400 Crop

D800 vs D7K ISO12800 Crop

D800 vs D7K ISO25600 Crop

As you can see, the D800 does out-perform the D7000 at every ISO, although in luminance noise, they are closer at lower ISOs. Where the D800 shines is sharpness, micro-contrast and chrominance noise. Even with the D7000 having slightly better resolution, the D800 has much better effective resolution, which shows as a sharper image and better high-frequency detail. Not only does the D800 out-perform the D7000 in detail, micro-contrast and luminance noise, the D800 has significantly less chrominance noise. This is exaggerated as the ISO rises. An example of this can be seen below.

The D800's sharper image and more high-frequency detail might point to a weaker OLPF (Optical Low-Pass Filter a.k.a. AA-Filter) on the D800. The D800E would reveal even more sharpness, micro-contrast and high-frequency detail as compared to the D7000, due to its Anti-Aliasing characteristics being canceled-out in the D800E's OLPF filter stack.

Example of D800 vs. D7000 chrominance noise at ISO-25600:

Nikon D800 vs. D7000 ISO-25600

I've made the full-resolution images available at the bottom of this article, I highly suggest the images to be downloaded and compared full-size, for full-effect. Looking especially at the more finely detailed writing on the book ends.

Conclusion

The D800 is an extremely versatile camera that can provide amazing 36.3 MP files in full-frame FX mode, whilst containing the ability to moon-light as the best APS-C DX format camera on the market. The D800/E has several other crop modes as well as the DX crop mode discussed here, which helps to make the D800/E one of the most versatile cameras on the market today.

A full review of the D800/D800E and D4 is coming soon as well as comparisons between the D800, D800E, D4 and D3s.

The D800 used in this particular test was sourced from Robert's Camera.

Full size Nikon D800 vs. D3s images:

Full size Nikon D800 vs. D7000 images:

Read more: NikonRumors.com