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TLDR: if high iso is your priority, go full frame every day all day. I’m Canon guy so I can’t speak from experience of these models
1 Expanded iso is just this: it uses the highest native or real iso and brightens up the image after the fact in its image treatment. It’s done at a hardware level so you’re raw images will also be brightened not just jpegs. In other words if you use an extended ISO 25000 the camera actually captures the image at ISO 12500 and lifts the whole image a stop in brightness. You would get basically the same effect by taking the image at 12500 and brightening it in post. That’s because the camera sensor only has a given amount of analogue gain possible.
2. At high ISO’s a full frame camera will almost always outperform a crop sensor camera for noise, dynamic range, and colour accuracy. That simply is because the full frame sensor gets 2.6 times more light than the crop sensor. The official ISO range of a camera speaks only to how far the sensor can be pushed, not to what the results will look like. It’s basically a marketing gimmick (this one goes to 11 instead of the others ones 10) All cameras image qualities degrade at high iso. As to the d800, it basically has no analogue gain due to the analogue-digital conversion being done on-chip which gives very low read noise resulting in breathtakingly large dynamic range. (This has basically become a staple across the board of high end digital cameras.) It was basically the first of its particular breed and analogue gain was hard to come by, so they couldn’t make the ISO go very high. However at iso 6400 it will still beat any crop camera like a tied up goat. You just need to decide if iso 6400 is enough for your needs. That would be a sticking point for me personally.
3. Between the d7200 and d7500 it’s six to one half dozen to the other. The megapixel difference is a wash, you couldn’t possibly tell the difference in a real life situation. I would personally see the 20 mp sensor as the better one but that is for more technical reasons. Battery life has more to do with how you use a camera than it’s actual specs. I’ve gotten around 3000 shots on one battery with a camera rated for 1100. The ISO difference is just marketing hype. You’ll probably not want to use over 12500 on either of these cameras if you’re thinking of printing larger than a 4×6 and even that’s pushing it. Yes the newer *can do a higher iso, but it will not be that much use as the image quality will be quite low. These two cameras performance will be very similar at high iso with maybe a tiny edge to the 7500. It’s just that the higher ISO’s available on the newer model will continue to look worse and worse as you continue to push it up. As to newer processing engine it’s a bit of a moot point if you shoot raw- look rather at how the newer processor is translated into camera performance in real hard boiled ways such as AF tracking, exposure metering shooting speed etc.
🙂- This reply was modified 56 years, 6 months ago by .
Wow, that’s a zealous printer! I’ve never heard of a printer turning down an image on copyright grounds. It is fair in a sense however, I guess.
The simple way is to send them an email detailing what prints they’re allowed to make, so if ever there is a an issue they can present the Copy Right they purchased. You could print up the letter yourself and sign it for them if you wanted them to have a harder copy. That’s assuming removing the copyright info and watermarks is out of the question. If you don’t mind removing them, it’s an obvious fix.
I’m a little uncertain on this issue, but there are ways to protect files from printing (and other forms of copying) which basically makes it impossible to print. I doubt your images are protected this way because I doubt one could protect their files that way and not know about it.
From a legal standpoint I would be curious to know wether the printer themselves would be liable for damages when printing the material provided by the customer. I sincerely doubt that. Leaving the burden on the printer to verify copyrights on everything they print is a bit of a stretch imho. That however is besides the point.It could be your colour profile. Different image processing software develop the RAW file differently so it could be how you’re file is being demosaiced or possible some editor presets. What processor are you using? Got any examples?
- This reply was modified 56 years, 6 months ago by .
If you don’t feel limited by your current equipment, don’t buy just for the sake of having more stuff. Buy stuff that fills a hole or answers to a need. That being said, you can’t really know the advantages
Here are a few advantages to higher class lenses:
Build quality. Canon’s L lenses for example are built like tanks making them very reliable, harder to break, more resistant to weather.
AF speed. the advantages to that are obvious.
Better AF in low light. A higher quality, larger aperture lens will lock into a subject more easily even when the light is iffy.
Aperture. This is a big deal. You don’t appreciate it until you try it. It gives you more light for when there’s not much light, and allows for a shallow depth of field, which is handy for blurring backgrounds.
Better image quality. There are thousands of ways to quantify IQ, some helpful, some not. Things like sharpness, latitudinal chromatic aberration, longitudinal chromatic aberration, corner sharpness, vignetting, flaring, etc. You can use tools like LensTip or The Digital Picture to get info on the IQ of lenses. Stay away from DXO for lenses as their databases are full of mistakes and there results are sometimes… fishy.I dont know what your budget is, but my suggestion is a 50mm 1.8 STM. (Don’t get the older versions, the stm is worth it.) it checks most of the boxes with medium build quality, decent AF, good IQ, and an f/1.8 aperture. At ~$100, it’s also one of the cheapest lenses you can buy. It will be great for weddings, events, portraits, etc.
For landscapes and night photography you could look at getting something wide and large aperture. Canon has a fantastic little 10-18 IS, which would be great for expanding your landscape possibilities. But they have no wide aperture wide angle lenses for Crop cameras like the 60D. For that I’d look at the Tokina 11-20 f/2.8 or 14-24 f/2.0. The latter has a much wide aperture, but doesn’t expand on your focal range much. They run around 450 and 600 respectively.So is there no referencing of files within the application? all handled by sidecar files and one navigations the OS’s file system?
How do you guys find Raw Therapee’s cataloguing system as related to LR’s? I have briefly tried DarkTable and was seriously unimpressed. RT’s name is so cheesy it’s so hard to take seriously I’ve not even tried it yet. I may though someday. I will probably go to C1P someday, I have had three separate month trials. 😀 I was seriously impressed by the program, and just as depressed by the price.
I think what you’re seeing is JPEG compression artifacts. The patterns and stripes you see are just that. A bitmap (each pixel mapped out individually) image is too large for web, so the image is compressed by representing it as blocks and patterns of pixels. That is how the JPEG file format works. This particular image is very heavily compressed, so the blocks and patterns have become visible. A higher quality compression will look better, and have less visible artifacts, but the file will be much larger. Here, the file is only 66KB so it could have been uploaded in a much larger size and quality if the OP had felt the need.
yea, no prob. focal length is just how far zoomed in you are. (if you have a zoom lens) If you have a camera/lens that doesn’t zoom, called a prime lens, the focal length is always the same. You can often get that information by selecting the file on the computer and and right clicking it and selecting “more info” or “info” or something like that. (shortcut on Mac is Cmd-I)
I hear you! It can be frustrating to get “that shot” and it wind up being out of focus. I would experiment with a few things. First and foremost, put your camera in a single point AF mode. If it’s on auto af point selection, the camera will always focus on the closest object it sees, and if one of the af points happens to be on the fence, that’s where it will go. That’s what it’s configured to do with the more basic cameras, and all cameras in the more basic modes. Instead, I would put it on single point, manual selection, and place your af point squarely in a hole in the mesh, as close to the eye of the dog as possible. Remember your AF points are actually usually larger than the guide boxes in your viewfinder would indicated. They are not always perfectly centred on the guide either, so give yourself some leeway. I would suggest using One Shot mode, to keep it from bouncing around and catching onto the fence if you accidentally move between shots.
I’d try landing focus on the dog and seeing how that fence turns out. The links will get bigger and blurrier. The greater the difference between camera to dog distance and camera to fence fence distance, the blurrier and bigger it will get. If you get close enough to the fence, you may be able to get it to disappear entirely, assuming the crop works for the dog.
What Focal length and aperture did you use here?Personally I often find gibbous and crescent moons more interesting than a full moon itself- they seem to have more depth to them.
I’m curious, what was the purpose of the polarizer for this shot? Polarizers will cut a quarter to a full stop of light (depending on the quality) and will either raise your iso or lower your shutter speed. Although at this zoom level the image doesn’t look blurry or noisy, it probably is not terribly necessary.
Honestly there isn’t much negative to say about this image- you kept it simple, the moon looks sharp and in focus, (at this zoom level) and the exposure looks good, maybe just the tiniest thing on the dark side. (pun intended) This is probably a personal thing, but the moon “feels” a little high a little high in the image.Your question was, “Which external storage devices are dependable?”. The answer is, “none”.
The only safe backup is redundancy, meaning you have multiple copies.
I have have had fantastic customer service with Western Digital. Unfortunately, the only reason I know that, is that I have had at least four WD drives fail on me. (some explicably, such as an impact, others for no apparent reason) For me, however, since my drives are part of a redundant backup system, (NOW!) RMA service is to me more important than the actual reliability of the drive. Losing one drive out of three is no big deal if it costs me nothing.some good examples of how far an image can be pushed here. As you noted, there is only so much as can be done with fog (that goes with any image with fog and applies to rain, foggy lens, and ) as one cannot recuperate data that isn’t there.
As to tips, what I’m seeing in Ezra’s and Eliana’s edits is basically increased contrast and, especially, clarity. I got similar results in Lightroom by increasing contrast 100%, pulling blacks and whites toward the edges, and putting an inverted circular mask over the tree-ish areas with increased clarity. (Helps the other parts of the image stay intact, if you apply aggressive adjustments specifically to the areas that need them most).Directed to John and Jinny
When dealing with a wide aperture lens, as much as at all possible, use your center focus point on AI focus mode, and focus and shoot directly. Don’t focus-and-recompose. It won’t work as your plane of focus will fall behind your subject if you recompose even from a tripod. Your depth of field is really that thin. Instead, shoot a little wide and crop in post. If have a camera with Autofocus MicroAdjustment (I don’t) by all means run it through its paces either manually or using a software such as Focal.
Also, find out where your AF points actually are- the black boxes you see in the viewfinder are just a guide. The can be larger or smaller, or even not centered on the box. Test this by placing a target on a blank background, (blank enough for your camera to be unable to focus) put your camera in AI servo, and move the AF point around your target “feeling” at point point on all sides the camera snaps into focus.That’s what I wish someone had told me when I started with a fast prime 🙂