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24-05txt · 1 year ago

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Can I something for Lost & Found? I scroll past it in by bookmarks all the time and I'm eager for more!

Ogh, man, Lost and found... (Wip ask game!!)

See what I'm struggling with there is that I got a good bit into chapter 2 while on a flight to somewherecan'tremember and lost like. All of it. Because I closed the app for too long and the lack of connectivity ate it!!! Even though it was supposed to be fine!! Moral of the story is never trust technology (said by the IT major). Obviously my reaction was to pout about it forever.

Anyway I did get moving on chapter 2 again, but while I was sulking I wrote ahead a little bit (as I am prone to do) and thus have the content. I debated on not giving spoilers and then decided I don't care and I'm really excited to share this snippet so!!! Have some retrospective from Simon (not Ghost).

Some other info before that in case anyone is interested: I did finally decide what Ghost and Soap's relationship is in this and its [?????]. Like almost an established relationship and since this is from Ghost's pov he's obviously whipped, and if Soap isn't equally whipped then he's at least encouraging Ghost, but aside from Ghost's internal monologue of being disgustingly in love 24-7 and constantly on the verge of sloppy makeouts they still haven't kissed or anything like. Explicitly romantic. So take that as you will. I've also decided how they met/what the home situation is!! So I'm excited. They were really the only unknowns here because Simon is. Well he's an OC and also I'm playing him in a TTRPG, so I know exactly where he came from and what he's doing (trying not to die.)

Anyway, nearly 1k below the cut and aside from mentions of violence and implied neglect of a child I don't think there's anything to watch out for here :3 lmk if I'm wrong. Enjoy!

Simon tries really hard to be a good kid, is the thing.

It's not, like, a complex or anything—at least he doesn't think it is. He doesn't remember ever having it drilled into him by Dad; it's just something that has always made sense. He never understood when the twins or Maria or whatever-her-name-was hawked on Lights or Cyclops for stupid shit like their fears or looks. That's why he wasn't sad to see Maria die.

Which—okay yeah, a little fucked up, but that doesn't make him a bad kid. Maria even deserved it when Athena snapped her neck. Probably. He's not clear on the moral aspect of it, doesn't know enough about murder or homicide or whatever to pass judgment on whether or not Maria's death was just. But he's a good kid, he knows it. The adults in the community would say it all the time—his dad, too. 'You're a good kid, Simon,' whenever he picked up after himself or did his chores or won a rugby game or finished his homework. Not that he's a suck-up—was a suck-up, not that he was a suck-up. He needs to say 'was' now, since most of the adults are dead and he doesn't even know where his dad is.

But, you know, it's fine. Simon's a good kid, and he kept the house clean while his dad was away, even when the weeks stretched on long enough to make him start to wonder. Not doubt, he doesn't—didn't—doubt his dad. He's seventeen now, and he's never had that 'rebel' phase he's heard of through adults; it's sort of a point of pride—or it was sort of a point of pride. He supposes breaking into his dad's office with his friends to steal maps and old family photos counts as rebellious. So, maybe he just didn't have a rebel phase until that.

He's just also a little lost, is the issue. Literally lost, not in the metaphorical sense where he needs to go on some inner journey. He needs to find his dad. His dad, who apparently did not leave for a scouting trip and instead went looking for Simon's mom—who isn't dead, like they had both thought. At least, Simon had thought that.

He doesn't know what his dad thought anymore; his dad didn't so much as leave a note to let Simon know where he was off to. Those three weeks spent cleaning and taking care of the house in his absence feel a lot less mundane and a lot more foreboding, in retrospect. Would he have still gone to class and done his chores if he'd known what his dad was doing? Probably, because he's a good kid. (So why not tell him?)

But it probably doesn't matter now, since it's done and in the past. Lots of things about Simon's previously comfortable life are ending up in the past-tense now, simply because they no longer apply or can't apply the same way. But Simon is a good kid. Present tense. Is. Because he's still trying really hard to be one. It's harder, though, when no one is telling him what is good to do and he has to think for himself. He has to think for other people too—for Coda and Leaf and Irix and Shaq (and Lights and Tunes and Cyclops and Athena), who are all years younger than him and in need of protective guidance.

Simon's not so good at guiding—leaving the community had pretty quickly brought to his attention that he'd spent most of his life just listening to what people told him—but he can protect. He was on the rugby team, he knows how to push people around, and back when Dad would stay at home they used to go hunting, so he knows how to shoot a gun.

But that brings him back to the 'lost' issue; he can't protect any of them if they're separated. He didn't mean to get lost in the storm. He'd just wanted to help and make sure everyone got in the vehicle, didn't even know that wind could blow so strong that it'd pick him up.

Apparently it can, and it did, and he woke up on the roof of a building with scrapes on his palms and dirt in his ears, and absolutely no sense of direction. He'd cried a little, then. Maybe it was childish, but it had been a rough couple of days—between cannibals and raiders and storms (and zombies and corpses and)—so he cut himself some slack for throwing a bit of a shitfit when he discovered he'd chipped a front tooth.

(The fact that none of the girls were around to see it and all the other jocks who would have made fun of him were probably dead did briefly make him feel a little better, and then a whole lot worse.)

A day after that is when he found the soldiers—Ghost and Soap. He hadn't really met any adults with names like his peers before but for all the firsts he was having, this one barely clocked.

They were... cool. They reminded him of comic book characters with their velcro pouches and shawls and masks and sleek guns. Sure, he might’ve pointed a gun at Ghost, but he's self-aware enough to know that he wouldn't have been able to shoot—at least not while Ghost was being decent toward him. Coda and Athena have killed people, Simon hasn't. (Generally good kids don't kill people, but he has a feeling there are exceptions to the rule, so he would like to make the distinction.)

#cod:mwii #ghostsoap #fic.txt #wip #lost and found #Simon (oc)#oh also if ur curious he's like 17. Oldest in his group because the rest of them are 13-16 LMAO #these kids are in a bad way boy let me tell you #Coda is 14 iirc #Athena is 14-15?#Can't remember anyone else he mentions by name #oh Leaf is 13-14 and Shaq is 16.#Irix is also 16 #Lights tunes and cyclops i have no idea. probably 13-15. Lights is the youngest.#anything else about the group he's traveling with will come up when I fucking poST THE FIC #<3

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siva3155 · 6 years ago

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300+ TOP IBM REXX Interview Questions and Answers

IBM REXX Interview Questions for freshers and experienced :-

1. What Is Uni-rexx? uni-REXX is a UNIX implementation of IBM's popular Rexx programming language as defined by M. F. Cowlishaw in the Rexx Language. 2. For Which Platforms Is Uni-rexx Available? uni-REXX is now available on SUN's Solaris 7/8/9, H/P's HP/UX 10/11, IBM's AIX 4/5, SGI's IRIX 5/6, NCR UNIX, Linux Intel and S/390. 3. What Would I Use Uni-rexx For? uni-REXX can be used for a wide variety of purposes. The most popular include: automating system administration tasks. development of end-user applications. rapid prototyping of compiled-language applications. uni-REXX can also be embedded as a scripting language or system-control language in other applications. 4. Can I Port My Existing Applications From The Mainframe Or Os/2? Will There Be Extensive Changes Required To Do This? "Yes, you can port existing applications with a minimum of modification". Only the following modifications are normally required: references to disk file names. statements in your program that execute operating system commands -- The exceptions are EXECIO and GLOBALV; uni-REXX has implemented these popular mainframe commands and made them accessible from within a uni-REXX program. portions of your program that stack data for use by another, non-Rexx program after the Rexx program has completed execution -- Programs in UNIX run in individual processes, and there is no concept of a persistent. stack available to all processes. The modifications required here are usually simple, and TWG Technical Support is available to provide guidance, suggestions, and sample solutions. If your Rexx program is primarily a series of operating system commands, then it may not be a good candidate for direct portation. It may be, however, that the functions it performs have reasonable counterparts in the UNIX environment and the program can be converted to execute the equivalent UNIX functions. 5. What If I Need To Have The Same Application Running On Multiple Platforms, Such As Unix And The Mainframe? Does That Mean I Have To Maintain Two Separate Sources? Not at all. Rexx includes an instruction that allows you to determine the environment in which your program is running. PARSE SOURCE will give you a string in which the first token is the name of the system where the program is running. For uni-REXX, this is "UNIX"; on the mainframe, it would be "CMS" or "TSO". Then you can put conditional processing into your program based on the current execution environment. In a program that needed to display a current listing of files, you might set your master source up something like this: parse source env: select when env = 'UNIX' then command = 'ls' when env = 'CMS' then command = 'listf' when env = 'TSO' then command = 'listc' otherwise call OS_error_routine end : : > : command /* value is sent to OS */ 6. Does Uni-rexx Give Me Any Capabilities Designed Specifically For The Unix Environment? In addition to the standard language features, uni-REXX includes a rich set of functions designed specifically for a UNIX environment. These functions can be classified into the following categories (with examples of each shown in parenthesis): environment control (CHDIR, GETENV, PUTENV, GETCWD, etc). file and directory management (_OPENDIR, _READDIR, _STAT, etc). process management (_GETPID, _FORK, _WAIT, _KILL, etc). configuration management (_GETUID, _GETHOSTNAME, etc). system error processing (_ERRNO, _SYSERRLIST). regular expression processing (_REGEX). interprocess communications (_SOCKET, _CONNECT, _SEND, _RECV, etc). 7. Can I Combine Uni-rexx With A Compiled Language In My Application? What Application Programming Interfaces Are Available? For Example, Can I Share Variables Between Uni-rexx And A Compiled Language? uni-REXX offers a complete set of Application Programming Interfaces (APIs). These APIs allow you to start a Rexx program from the compiled language program. define new host command environments for Rexx. access Rexx program variables. access the Rexx program stack. specify user-supplied exits. terminate the Rexx program. add user-defined functions that can be called by the Rexx program. 8. How To Access Data Held On The Jes Spool? Held output (JES2 or JES3) can be captured by outtrapping the output of the following command: "OUTPUT jobname PRINT(*) KEEP". Use command HELP OUTPUT for more information. Furthermore there are output tools you can buy like SDSF, IOF, (E)JES, etc. But not all of these have got a rexx interface. 9. How To Access Data In Control Blocks Such As Jobname? Use the Storage() function to extract the data from control blocks. /* REXX Get taskname from TCB */ cvt = storage(10,4) /* FLCCVT-PSA data area */ tcbp = storage(d2x(c2d(cvt)),4) /* CVTTCBP */ tcb = storage(d2x(c2d(tcbp)+4),4) tiot = storage(d2x(c2d(tcb)+12),4) /* TCBTIO */ say strip(storage(d2x(c2d(tiot)),8)) /* TIOCNJOB */ 10. Suppose If There Are A Set Of Statements And Each Has A Word "value" In It, If I Want To Display All These Statements So That The Word "value" Is Aligned, Then How Do I Code This In Rexx? /**REXX**/ ADDRESS TSO "ALLOC DD(INP1) DA('input-dataset') SHR REUS" "EXECIO * DISKR INP1 (STEM IN1. FINIS" MAX_OFFSET = 0 INP_OFFSET = 0 DO I = 1 TO IN1.0 PARSE UPPER VAR IN1.I INP INP_OFFSET = POS("VALUE",INP) IF INP_OFFSET > MAX_OFFSET THEN DO MAX_OFFSET = INP_OFFSET END END DO I = 1 TO IN1.0 PARSE UPPER VAR IN1.I INP Z = POS("VALUE",INP) SAY LEFT(SUBSTR(IN1.I,1,(Z - 1)),(MAX_OFFSET - 1))||, SUBSTR(IN1.I,Z,20) END "FREE DD(INP1)"

IBM REXX Interview Questions 11. How To Pass Parms To Ispf Edit Macro? On the command line in the editor, just use the name of the macro and list the parameters behind it. E.g. if you have a macro called FINDALL and it expects 3 parameters you would specify in the command line: FINDIT parm1 parm2 parm3. When you code the MACRO the first line should be like: Address ISREDIT "MACRO (parm1 , parm2, parm3)" Since you are working with REXX you could have used: Address ISREDIT "MACRO ( parm )" You then parse the parm like this: Parse (UPPER) Arg parm parm1 parm2 parm3. 12. Can I Cleanly Uninstall Oorexx? Yes!. 13. Can I Redistribute Oorexx Freely With Commercial Software? Yes!. 14. Can Oorexx Run Ibm Object Rexx Programs? Yes! 15. Can Oorexx Run Normal Rexx Programs? Yes! 16. Have You Already Used Rexx - Even For Limited Purposes? Do You Need To Maintain A High Level Of Productivity During Your Transition To Unix? Further, uni-REXX is very easy to use, even if your previous experience with it is limited. The syntax is very natural (English-like); there are no data types to declare; interpretive execution facilitates rapid development and debugging; and the interface to the operating system is seamless. 17. How Long Does The Install Of Oorexx Take? 30 seconds or less, depending on your hardware. 18. If I Have Limited Experience With Rexx Or It's Been A Long Time Since I've Used It, What Kind Of Help Is Available To Get Me Started? uni-REXX comes with a sample library that includes a examples of a variety of application types. These include: utilities for: date calculations and conversions printing on a remote host creating new userids (AIX) running dbxw debugger on a process in another window simulating the "which" command for UNIX implementations that do not have it printing a visual depiction of a directory structure. functions to: convert a system -independent filename into a local filename perform specialized string search add math functions to uni-REXX. filters to: uppercase all characters in an input stream replace simulated box drawing (using "|", "+", "_") with real box drawing characters remove backspace characters from an input stream useful for reformatting the output of a man page for ASCII printing. illustrations of using the APIs to embed uni-REXX as a scripting language in compiled language applications. example of using the UNIX-specific functions for a client/server application. 19. Is Oorexx Compatible With Ibm Object Rexx? Yes! 20. Is Oorexx Compatible With Rexx? Yes! 21. Is There An Aix Version Of Oorexx? ooRexx for AIX is available starting with the 3.1 release. 22. What Is The Difference Between Oorexx And Ibm's Object Rexx For Windows? IBM's Object REXX was available in two formats; an Interpreter Edition and a Development Edition. ooRexx will be available in one format which is half way between the two IBM offerings. There will be no functional difference between the Object REXX and ooRexx interpreters; code written for Object REXX will work with ooRexx. 23. When Will A Port Of Oorexx To "xyz" Be Available? Any POSIX-based, Unix-like platform is likely to already be available in the source distribution due to the use of the autoconf toolset. If not, then support for the particular platform will need to be implemented in a future version of ooRexx. 24. Why Is There No Os/2 (ecs) Port Of Oorexx? The source code provided to RexxLA was maintained by one group of IBM developers. The source code for OS/2 is maintained by a different group of IBM developers, and that source code base was not supplied to RexxLA. One of the future tasks for this project is to port the Open Source code for ooRexx to OS/2. IBM REXX Interview Questions with Answers Pdf Download Read the full article

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slrlounge1 · 6 years ago

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Real Estate Photography Equipment Guide | Cameras, Lenses, Accessories, & Editing Software

This is the third article in our series about real estate photography; how to shoot the photos, process them, and how to be successful in business.

In this article, we will go over all of the equipment you’ll need to achieve professional results, including cameras, lenses, tripods, flash, and other accessories. Of equal importance, indeed, we will discuss the editing software required for professional real estate photography.

The good news is, you just don’t need a lot of expensive gear! Real estate photography isn’t a fast-action sport or another highly demanding genre, therefore, the equipment is rather straightforward. Even a modest budget can get you started and deliver professional results.

Similarly, you don’t need to master complicated processing techniques, although a basic understanding of exposure, raw processing, bracketing, and layer masking will be helpful in many situations. We’ll cover the final post-production in a future article.

First and foremost, focus on practicing your craft. Focus on creativity, and working efficiently, and of course, making sure your customers are happy. Get to know each piece of equipment, so that there are no surprises or frustrations whenever you’re with a client.

A big thank you to HDRsoft, creators of Photomatix, for sponsoring this education and helping our community of photographers.

The Right Tripod for Real Estate Photography

A good, sturdy tripod will make it easy to capture sharp, clean images inside dimly lit rooms, where your shutter speeds are often measured in seconds.

Whenever photographers ask for tripod recommendations, they usually ask which tripod is cheap, lightweight, and portable, most likely to be used for travel and casual landscape photography.

However, for real estate photography, a flimsy, lightweight tripod is not the best idea! Your camera’s support system is going to be your companion for many of the jobs you do. Therefore, the absolute best tripod for real estate and architectural photography is a big, tall, sturdy one.

Furthermore, having a solid, heavy tripod will really help to keep your images framed perfectly from one shot to the next, which will minimize your need for using alignment functions in post-production, whenever you need to create an HDR or other composite images.

Here’s the good news: big and heavy tripods can still be affordable! Name brands such as Manfrotto and Slik offer decades of experience making dependable quality tripods, at a relatively affordable price. Our top recommendations are the Manfrotto 190X series or 055X series, or the Slik 500DX or 700DX series. These tripods can all be found for around $100-200 new, or even less if you shop used.

Of course, if you travel a lot, or walk very far with your gear a lot, then it might be helpful to have a lightweight travel tripod, too. There are numerous options in the $200-300 range that weigh just ~2 lbs; one favorite being the Slik Lite series. (Either way, just avoid cheap/generic brands!)

Tripod Heads: Ballhead Versus 3-Way Head

Many tripods do come with both legs and a head, however it is also not uncommon to buy them separately.

If you do get a ball head separately, the question becomes, what type should you buy? Ball heads can be quick to set up at first, however, precision is difficult. A 3-way leveling head, or even a geared head, offers the highest precision, and is actually faster to achieve perfection once you get familiar with it.

Unfortunately, high-tech geared heads are a bit more pricey, whereas ordinary ballheads abound in all price ranges, and are often included together with legs. At the high end, a geared head such as an Arca Swiss C1 Cube, D-4 Monoball, or L60 Leveler are precision professional tools. As an affordable alternative, a Slik Leveling Unit, or any tripod with a leveling center column, can be a good way to quicken the pace of your workflow.

If you happen to buy tripod legs without a head, there are plenty of ordinary ballheads on the market, from name brands such as Slik, Manfrotto, Gitzo, and Really Right Stuff, to affordable alternatives such as Oben and Benro.

The Best Lens for Real Estate & Architectural Photography

While having a solid foundation to shoot from is essential, having the right focal length lens is equally important. Real estate photography involves shooting a range of subjects, from vast exteriors to cramped interiors, therefore, one job could require medium, ultra-wide, and telephoto focal lengths.

Exteriors of a home or commercial property are often easy to photograph with a normal (mid-range) zoom such as a 24-70mm f/2.8 or 24-105mm f/4. On APS-C crop sensors, the common mid-range zoom lenses are 18-55mm or 16-50mm.

However, for interiors or anything where space is tight, you’ll likely need a lens that goes even wider. On full-frame, the two most common focal ranges are 14-24mm and 16-35mm, or on an APS-C crop sensor, 10-20mm and 10-24mm are common.

Here is the good news: the lens’ aperture doesn’t need to be very fast, because you’ll be shooting with your aperture stopped down to f/8 or so for depth of field almost anyways. Therefore, affordable ultra-wide lenses such as f/4 zooms or even variable aperture zooms are great choices, saving you hundreds or even thousands of dollars. Similarly, both name-brand and third-party lenses are great, especially when stopped down just one or two stops.

The ultimate “exotic” ultra-wide lenses for real estate interiors are currently the Canon 11-24mm f/4 L, Nikon 14-24mm f/2.8, Sony 12-24mm f/4 GM, and Sigma 12-24mm f/4 Art.

(Approximately 14mm)

On the affordable end, there are plenty of ultra-wide lenses that are almost as good as the exotic options, when their aperture is stopped down: Consider a Rokinon 14mm f/2.8, or the Tamron 15-30mm f/2 VC, Irix 11mm, Laowa 12mm f/2.8, …or a 16-35 mm f/4 from any brand. One of the most affordable full-frame ultra-wide lenses for DSLR shooters is the Tokina 17-35mm f/4. 17mm may not sound like it is that much wider than 24mm, however it can make a huge difference when photographing indoors!

Great crop-sensor lenses include any of Tokina’s DX lenses that go as wide as 11mm or 12mm, or other lenses that get to 10mm even. (Canon, Nikon, and Sony all make multiple options which are extremely affordable; Nikon’s 10-20mm AF-P is just $250 when it’s on sale!)

Tilt-Shift Lenses for Real Estate Photography

(Note how all vertical lines in the image are actually vertical)

Any ultra-wide lens will get the job done, but there are also specialty lenses which are made primarily for architecture and real estate work: tilt-shift lenses. The question is, do you need one?

(Un-corrected, vertical lines may appear to “slant” even though they should not)

A tilt-shift lens is an incredibly useful tool that allows you to shoot images of buildings/rooms and have all the vertical lines (walls, doors, pillars, etc) stay vertical, instead of “leaning” up or down whenever you angle your camera up or down.

The most common architectural tilt-shift lens is usually a 24mm focal length; Canon, Nikon and Rokinon all make a 24mm tilt-shift lens. Canon also makes a 17mm TSE, and Nikon makes a 19mm PCE, and both also make mid-range and telephoto lenses if your job has a particular need.

So, how badly do you need a tilt-shift lens? The honest truth is that it’s not critical. There are ways to work around the problem of your vertical lines leaning. You can of course try to correct this in Photoshop or Lightroom, however, you can also achieve a similar result in-camera by shooting the image perfectly level at an extremely wide focal length, and then in post-production just crop the final composition.

If your lens goes as wide as 11mm, 12mm, or 14mm, (on full-frame) then you can heavily crop your images and get roughly the same perspective as a ~24mm tilt-shift lens. If your camera has 30-50 megapixels, and especially if your client is only doing low-resolution online listings or small printed ads, then you’ll have plenty of image resolution left after a severe crop.

In short, getting a tilt-shift lens is mostly a matter of in-the-field convenience and perfection, and although it’s a fantastic tool, in our opinion it’s not truly necessary unless you’re shooting a lot of very high-end work. (Consider it a reward that you treat yourself to once you’ve achieved much success in business, and not a tool that you absolutely need for your very first job.)

The Right Camera Body For Real Estate Photography

We’re going to be totally honest here- as far as camera bodies are concerned, you just don’t need an “exotic” camera body. Why? Because real estate photography doesn’t require features like extremely high frames-per-second, (FPS) or advanced subject tracking autofocus. Your main priorities are simple: a camera that provides great image quality from its raw files, plus good bracketing features and a flash hotshoe.

Thankfully, even beginner cameras these days have great image quality at their lower ISOs, as well as basic bracketing features and of course a flash hotshoe. Higher-end, professional cameras do offer more resolution, greater dynamic range, and more advanced bracketing functions, of course, but using proper shooting technique (and the right lens) will be the most important factor when it comes to the final image. Also, many wireless camera control apps offer remote control for exposure and image preview.

In fact, you should probably pick your camera based on the other types of photography you do, such as portraits, action sports, or landscape photography.

Crop-Sensor Versus Full-Frame Cameras for Real Estate Photography

In many genres of photography, owning a full-frame camera and lenses can offer significant, game-changing advantages.

However, with real estate photography, we’ve already made the shooting method very clear: you’re going to be using a tripod a lot, and shooting at a relatively low ISO such as 100-400 whenever possible. You’re also going to want everything in focus, instead of having a blurry background or foreground.

Because of these shooting conditions, an APS-C or even Micro Four Thirds camera system will adequately get the job done, as long as you have the right focal length for the job, and practice correct technique. So, nail your exposures and bracket for more dynamic range whenever necessary!

Whatever sensor format you choose, the important thing is the lenses! Be sure to pick a camera body that has enough wide-angle lens options for real estate photography, and are within your budget.

Wireless Flash for Real Estate Photography

This piece of equipment may be the most intimidating for a photographer who has not photographed portraits or similar subjects, but it is still quite simple! When working with flash in real estate photography, the professional results that you can achieve are worth it, specifically when using wireless flash off-camera to either bounce off a ceiling or directly illuminate subjects in a room with a diffuser such as an umbrella.

Our basic, beginner recommendation is both affordable and simple to use: one or two Yongnuo 560III or 560IV hotshoe flashes, and a Yongnuo 560TX radio transmitter/controller. It’s an all-manual flash system that lets you wirelessly control the power (brightness) of the light output. This flash isn’t built very tough, but it still makes a great starter flash for the money. if you ever upgrade to something else, it can stay in your bag as an emergency backup. Paid professionals should always have a backup!

If you do also shoot things like portraits or weddings, then of course you might want to consider a hotshoe flash that offers features such as HSS and TTL. In this realm, there are both name-brand wireless flashes, and more affordable models from Yongnuo and others.

Our medium budget recommendation is still relatively affordable: A Godox AD-series flash, such as the AD200, AD400, or AD600. Each of these offers a lot more flash power in a single flash, without breaking the bank. The AD200 is a more portable sized strobe, almost the size of a hotshoe flash, while the AD400 and AD600 are true strobe flashes which offer even more power.

Our high-end recommendation is, of course, the best in the business: Profoto strobes offer extreme reliability and durability, and significantly more power than any hotshoe flashes. They’re pricey, but they will absolutely last far longer, and will be far more reliable, whether you get one of the more affordable models such as the Profoto B2, or the cadillac of strobes, the Profoto B1.

Other lighting equipment you may need: a light stand, either heavy-duty or lightweight, is really helpful, especially if you ever work alone. You may also want a simple shoot-through umbrella for illuminating a room or specific subjects with soft, diffused light.

Is Wireless Flash Too Complicated For a Real Estate Job?

Bounced flash is the easiest way to begin adding illumination to a room (The flash is pointed at an area behind the camera that is not in the image)

If you’re afraid of even trying wireless flash, the easiest thing to do is to just dive in and play with it! With manual power (brightness) flash, it’s as easy as setting your camera’s exposure: just start shooting, and if the flash is too dark, or too bright, dial the flash power up or down and see how the lighting improves.

The hardest part is simply getting to know the interface of the flash itself, but this is one of those times when the only thing to do is get out the user manual and go through it.

Keep in mind that if you go down the path of using wireless flash in your photos, it will add time to both shooting and post-production. Some jobs are super quick, with only a few minutes to shoot, and require rapid turnaround time.

Often times, you may discover that you can perfectly illuminate the room with a single light, but there is a window or mirror which betrays the flash’s presence and brightness. Or, you may realize that you need to illuminate two or more different parts of a room separately. Sometimes, you may even have to stand in the photo in order to perfectly illuminate something.

So, what many photographers do is capture multiple photos with the various parts of the image lit perfectly, and then layer them all together in Photoshop. Using layer masks, you can “erase” any flashes, light stands, bright reflections, or people from the final image.

However if you’re not careful, you can wind up spending an hour or more on a single image! So, try and keep the use of wireless flash and composite frames as minimal and simple as possible.

Wireless Image Review & Camera Control Tools For Shooting Remotely

If you’re shooting from a tripod and walking around a room to trigger a flash or change the ambient light, (getting images with lights switched on and off) it can be extremely frustrating to have to walk back and forth to your camera repeatedly for just one final image. It can also be rather frustrating if your lens isn’t wide enough, and you realize that to get the shot you need to put your camera right up against a wall, or even in a corner where you simply can’t see the viewfinder or rear LCD at all. (Unless you have a fully articulated LCD!)

What some real estate photographers do is, use a wireless camera control tool such as a Camranger, or if the camera has it, the built-in wireless functionality that pairs with an app on your phone. Some apps even allow you to change your exposure or focus wirelessly, in addition to clicking the shutter and reviewing photos. No more walking back and forth across a room five times just to get one photo!

Aerial Real Estate Photography Equipment | Drones & Camera Poles

Drones have become incredibly popular lately, and almost every genre of photography has realized the benefits of being able to put a camera up in the air. Real estate photography is definitely one of those types of photography that can greatly benefit from aerial photo and video.

Thankfully, all of the latest popular drones from brands like DJI, such as the Phantom 4 Pro, Mavic Pro, and Mavic Air, include both raw image capture and auto-bracketing, for epic aerial photos of a property even in tough light, resulting in beautiful images if processed correctly.

The Right Processing Tools for Real Estate Photography

Of course, even if you have a solid tripod, a great camera, and the perfect lens for the job, you still need to know how to edit the images you take, and what tools to work with.

A raw processing program is a must-have for all professional work, and real estate work is no exception. In many scenes, indoors and outdoors, dynamic range can be extremely wide, requiring heavy edits to your shadows and highlights, or bracketing and merging of an HDR image.

You may also need to process HDR images in large batches for certain jobs that require multiple, similar images of a room or property.

Adobe Lightroom and Photoshop can get a lot done with raw files by themselves, as well as a basic interface for bracketing exposures and panoramic stitching, but they’re not always enough, and batch processing is not practical.

Click Here To Learn More About Adobe Lightroom

HDR software such as Photomatix Pro offers professional control for managing the dynamic range in both single and bracketed images, as well as full batch processing for jobs that require numerous bracketed HDR images.

Click Here to Learn More About Photomatix

Real Estate Photography Gear | Recap & Conclusion

You need a solid tripod. Heavier is a not a bad thing, because any photo shoot could involve slow shutter speeds, and likely bracketing or composite blending.

Almost any camera will do. Remember, the body is only part of the equation; the right lens is just as important, if not more so!

The right ultra-wide angle lens for the job. On full-frame: 16-35mm, 14-24mm, or similar ultra-wide lenses are extremely useful. On APS-C crop: 10-20mm, 10-24mm, or similar lenses are great. On Micro Four-Thirds: look for 7-14mm or similar range lens.

Camera settings: Shoot at a lower ISO such as 100-400, with the aperture stopped down for sharpness and depth. Then, vary your shutter speed to achieve the correct exposure, or if bracketing multiple exposures is required.

A remote trigger or wireless app is very useful. You can use self-timer too, but the remote operation is really worth it, and sometimes free!

Use wireless flash for illuminating interiors or exteriors, but only if you like the look it gives compared to bracketing natural light, and if your job schedule allows the extra time for shooting and processing.

Bracket multiple exposures when necessary to ensure detail in highlights and shadows. Most cameras offer bracketing of 3-7 frames, in 1-2 EV increments.

Post-processing software: Lightroom, Photoshop, and HDR software offer a seamless workflow for preparing raw files, merging bracketed exposures, or creating composite images in tricky situations.

In our next article, we’ll actually get on-location, shoot some photos, and post-produce them, covering all the important details to ensure great quality, a quick shooting workflow, a rapid turnaround time, and last but likely most importantly, a satisfied client!

Click Here to Read A Complete Overview of Real Estate Photography

Click Here to Read About The Business & Pricing of Real Estate Photography

Be sure to read our previous articles that give a brief introduction, and help you to get started with the pricing and business side of real estate photography. Also, stay tuned for more tutorials in the future!

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thephoblographer · 8 years ago

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The Sigma 14mm f1.8 DG HSM Art lens is the fastest aperture wide angle lens that you can currently find on the market, and it’s perfect in so many ways for the photographers that do astrophotography as well as those who photograph interiors in low lighting. The fast f1.8 aperture along with the autofocusing will suit these photographers well. However, the moment that you try to attach a filter to the lens is when things start to go weird. It’s very difficult to do despite many lens options on the market finding ways to make this easier. At the same time, photographers can argue about how modern day sensors are so good at getting the image that you may not need those filters. But the same argument can be made for high ISO output–I mean, why would you need an f1.8 lens? Let me restate that: why would you need an f1.8 wide angle lens?

Despite my questions and reasoning with just how good modern optics and cameras are, the Sigma 14mm f1.8 DG HSM Art lens is a fantastic, and innovative lens for pretty much any photographer out there that needs a wide angle prime lens.

Pros and Cons

Pros

Sharp image quality

Keeps distortion down to a minimum

Fun to use

Great look overall to the scenes that you get

Images look fantastic in black and white

Weather resistance

F1.8 aperture is nice for really low light shooting

Cons

I wish that there were a way that I could attach a filter to the front.

Gear Used

The Sigma 14mm f1.8 DG HSM Art was tested on the Canon 6D and the Canon 6D Mk II.

Tech Specs

Specs for the Sigma 14mm f1.8 DG HSM Art were taken from the Sigma website

SPECIFICATIONS

Lens Construction 16 Elements in 11 Groups Angle of View (35mm) 114.2° Number of Diaphragm Blades 9 (Rounded diaphragm) Mininum Aperture F16 Minimum Focusing Distance 27cm / 10.6in Filter Size (mm) – Maximum Magnifications 1: 9.8 Dimensions (Diameter x Length) Φ95.4mm × 126mm / 3.8in. x 5.0in. Weight 1,120g / 39.5oz. Corresponding Mounts

Sigma HSM DG Nikon HSM DG Canon HSM DG

HSM -Hyper-Sonic Motor DG – DG for Digital Full Frame and APS-C * The appearance, specifications, and the like of the product are subject to change for improvement without notice.

Ergonomics

The Sigma 14mm f1.8 DG HSM Art is first and foremost, characterized by that big, massive front element of glass. It’s curved and feels almost like a crystal ball. It’s also prone to oil and smudges, so be careful! Oh yeah, the lens hood is permanently attached too.

Turn the Sigma 14mm f1.8 DG HSM Art to the side and what you’ll find is the Sigma Art badge. The exterior is a carbonite type of plastic or something like that. Sigma doesn’t use metal like many other manufacturers do.

On the side of the Sigma 14mm f1.8 DG HSM Art is the AF/MF switch. Generally speaking, I only use MF if I’m focused out to infinity. Otherwise, there is this big giant focusing ring that you can use in combination with this switch’s functions. The ring provides the only real grip on the lens with the exception of the fact that the head of the lens is so darn giant.

Build Quality

When you look at the Sigma 14mm f1.8 DG HSM Art, what you’ll find is this rubber gasket ring on the outside. This is part of the weather sealing. For what it’s worth, I didn’t test this lens out in the rain, but it survived a splash or two from the Atlantic ocean–and those splashes weren’t that bad at all as I stood on a pier over at Coney Island and witnessed some of the biggest waves I’ve seen in a while. I have a lot of confidence in the build quality but for what it’s worth, I still think that IRIX, Tamron and Zeiss are more superior due to their incorporation of metal into the body’s exterior. IRIX in particular is a brand that I’m very impressed by these days.

Granted, if a plastic lens takes a bump then it’s less likely to affect the alignment of the elements. But metal prevents that in the first place.

Ease of Use

Using the Sigma 14mm f1.8 DG HSM Art is pretty simple. Screw it onto the camera, autofocus, and shoot. That’s it. But where it really starts to change is with the manual focusing that you’re going to need to do to shoot scenes at infinity. What I’m really in love with though is the fact that for the first time with a lens from the Global Vision project, Sigma incorporated a zone focusing system into the autofocus. That’s awesome!

Autofocus

On both the Canon 6D and Canon 6D Mk II, the focus was pretty much always accurate. In fact, even in low lighting the cameras and lens never missed focusing unless I wasn’t using the center focusing point. You need to expect this with the Canon 6D series of cameras though. They still are my favorite over the 5D series. I can’t imagine anyone shooting super fast moving subjects with the Sigma 14mm f1.8 DG HSM Art though, so don’t worry about needing to have the fastest focusing with such a wide angle lens anyway.

Image Quality

The Sigma 14mm f1.8 DG HSM Art is a lens that you’re not going to really have any sort of trouble with as long as you combine it with a high megapixel DSLR of some sort. At the lower megapixels, you may complain about sharpness until you zoom all the way in on a computer to see how stupidly, amazingly sharp this lens is wide open at f1.8. It’s very useful and pretty fun to work with. Then there are other things like the color.

Bokeh

Because I know that someone is bound to sit there and complain about the bokeh, you should know that it’s nice bokeh indeed. Is it creamy? No. You’re not going to get that from a wide angle lens. But to its point, the Sigma 14mm f1.8 DG HSM Art has the closest thing to creamy bokeh that I’ve seen from any sort of wide angle prime lens. As it is, you don’t buy this lens for the bokeh.

Pro tip though: because of the contrast that this lens has, it has a really beautiful look when shooting in black and white.

Chromatic Aberration

While some folks may say that lens flare is chromatic aberration, I embrace it. This lens has a lot of flare but surprisingly manages to keep the fringing down. Embrace the flare is what I say!

Color Rendition

The Sigma 14mm f1.8 DG HSM Art is like many of the company’s other wide angle lenses, very contrasty and very saturated. Perhaps they designed it for landscape photographers and this is why you get that look. Those colors and contrast translate well into beautiful black and white images.

Using the Sigma 14mm f1.8 DG HSM Art with Ilford Pan F 50 Film

The Sigma 14mm f1.8 DG HSM Art was loaded up in my Canon EOS 33 and used with Ilford Pan F 50 film. In the right situations, the film looks great with this lens. But the lens also has a whole lot of contrast that I don’t think works so great with what’s the equivalent of slide film. It’s hit or miss; but when you hit it, you really hit it! More of this can be found over at La Noir Image with a subscription.

Sharpness

Wide open the Sigma 14mm f1.8 DG HSM Art is super sharp. But as you stop down it becomes even sharper. For the most part though, it’s designed to be used wide open.

Extra Image Samples

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Conclusions

Likes

Sharp wide open

Beautiful for black and white photography

Weather sealing

f1.8 aperture

Dislikes

I really think that it’s time that Sigma start making lenses like these for Sony E Mount

The Sigma 14mm f1.8 DG HSM Art is a fantastic lens is every single way. I’ve got pretty much no issues at all with its image quality. But the reason why it’s not getting the Editor’s Choice award is because at this point, I think that Sigma makes such great glass that it’s normal to expect this. This is the company that made an 18-35mm f1.8 lens and a 24-35mm f2 lens. their innovation game is strong in terms of traditional features like a Sigma 14mm f1.8 DG HSM Art being created. But I’d like to see more. For example, IRIX lenses have a clicky area that tells me when something is an infinity. The writing can also glow under a black light. Considering that this lens is designed to be used for astrophotography, I’m shocked that the text doesn’t glow in the dark at all. It would make heading out to the shoreline and looking at the text on the lens so much easier.

Still though, as far as sharpness, colors, and overall image quality go, this lens can’t be beat.

The Sigma 14mm f1.8 DG HSM Art wins five out of five stars. Want one? Check out Amazon for the latest prices.

The Sigma 14mm f1.8 DG HSM Art is such a fun lens to use! The Sigma 14mm f1.8 DG HSM Art lens is the fastest aperture wide angle lens that you can currently find on the market, and it's perfect in so many ways for the photographers that do astrophotography as well as those who photograph interiors in low lighting.

#astrophotography #autofocus #Bokeh #canon #film #focusing #ilford #image quality #sharpness #sigma #Sigma 14mm f1.8 DG HSM Art #stars #weather sealing

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lorrainecparker · 8 years ago

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Aurora Aperture: new rear mount filters for extreme wide-angle lenses

The new Kickstarter campaign for the PowerND family of high quality fixed neutral density (ND) filters from Aurora Aperture is almost finished, but the company continues to surprise backers.

There is a growing interest in Neutral Density filters for both photography and video, and companies continue to introduce new products, some of them extending the light reduction capability usually available. One such example is the recently announced PowerND family of filters from Aurora Aperture, which consists of three ratings: the common ND64 (6 stops), the not so common ND4000 (12 stops), and the “over the top”, if we can call it, ND65000 (16 stops).

It’s an interesting evolution that expands, especially considering the higher values, the realm of what is possible to achieve in photography, where these filters make more sense. Video shooters will be happy with the more common values of ND8 (3 stops) and ND64, sometimes up to ND500 (9 stops), while some may even consider variable ND filters, which can be adjusted from anything to ND8 to ND500 and beyond.

Photographers, on the other hand, will go to extremes, a trend that explains why companies are creating products that make the Lee Big Stopper, which was a reference for extra light reduction at 10 stops, seem “normal”. Even Lee felt the need to create a Super Stopper, which goes all the way up to 15 stops.

Now Aurora Aperture takes the ND experience one stop further, with the ND65000 (16 stops) announced as part of the Kickstarter campaign launched in April and about to end this May. The crowdfunding project, with a $5,000 goal, has pledged close to $30,000 from over 200 backers, with still 11 days to go. The support received made it possible for Aurora Aperture to add stretch goals to the project.

One of the additions to the campaign extends the initial use of the Aurora CR filters beyond the initial Canon EF 11-24mm F4L USM. The Aurora CR is an industry first: a small rear mount filter using Gorilla Glass for the Canon EF 11-24mm F4L USM. Users of extreme wide-angle lenses have a problem with filters, as they need filters with an extremely large diameter, up to 186mm, for their lenses. These lenses usually have a filter adapter on the back of the lens, the problem being that there is not much, in terms of offer.

The Aurora CR format filter mounts in the rear of the lens, making it much easier to carry and lower in cost. Other Canon lenses that Aurora CR format filter can be used in are the EF 8-15mm f/4L Fisheye, EF 11-24mm F4L USM, EF 14mm f/2.8L US, EF 15mm f/2.8 Fisheye, EF 16-35mm f/2.8L USM, and EF 17-40mm f/4L USM. The company announced recently the addition of the Irix Canon mount lens support with the Aurora CR filters. A slightly modified CNC milled adapter is being developed for the Irix 15mm f/2.4 and it will be compatible with the Aurora CR filters. A slightly modified CNC milled adapter is being developed for the Irix 15mm f/2.4 and it will be compatible with the Aurora CR filters.

Aurora Aperture says that the Aurora CR filters may also be compatible with the newly announced Irix 11mm f/4, and adds that “we are also exploring possibility of adding rear mount adapter to the Nikon F mount. It is too early to tell how this will be implemented and we will not have the Nikon F mount adapter ready before this Kickstarter project is over. We will keep you posted when we have major progress.”

Back to the PowerND family funded through Kickstarter, it will be available in four different formats: circular filters from 37mm to 95mm, 100 x 100mm square filters compatible with popular square filter adapters, 150mm circular filters with an adapter for the Nikon AF-S 14-24mm f/2.8G ED lens, and the already mentioned Aurora CR format, an industry first, a rear mount glass filter for extreme wide-angle lenses.

The 6 stop filter is typically used in low light conditions such as during sunrise or sunset for sub-second shutter speed. The 12 stop filter can slow down shutter speed to minutes in dusk and dawn conditions. The 16 stop filter can do magic on a bright day, allowing photographers to expose up to several minutes or more.

The ND4000 and ND65000 have distinct advantages in having more stops than the typical ND1000 or ND32000. They allow users to avoid diffraction softening by enabling users to avoid very small aperture settings or alternatively allowing for longer exposures. In the case of the PowerND 4000 that means two more stops than the typical ND1000 and for the Power ND65000 there’s one additional stop.

“We introduced a variable ND family last year and it was embraced by photographers and videographers worldwide,” said Jinfu Chen, founder and CEO of Aurora Aperture Inc. “the fixed ND family we introduce today is much more powerful in terms of light reduction capability and offers even better optical performance, along with more formats for different camera lenses.”

Designed in California by Aurora Aperture, the Aurora PowerND filters employ up to 128 layers of double sided nano coating in order to, says trhe company, achieve color accuracy and powerful light reduction capability. Hydrophobic and oleophobic coating is applied to filter surface with PFPE coating. The end result is that water droplet on the filter surface can maintain a static contact angle of 110 degrees, one of the best in the industry.

The Aurora PowerND family is now available through Kickstarter and to dealers and direct orders in August 2017. List price starts at US$42 and varies depending on filter format and size.

The post Aurora Aperture: new rear mount filters for extreme wide-angle lenses appeared first on ProVideo Coalition.

First Found At: Aurora Aperture: new rear mount filters for extreme wide-angle lenses

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slrlounge1 · 6 years ago

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Real Estate Photography Equipment Guide | Cameras, Lenses, Accessories, & Editing Software

This is the third article in our series about real estate photography; how to shoot the photos, process them, and how to be successful in business.

A big thank you to HDRsoft, creators of Photomatix, for sponsoring this education and helping our community of photographers.

The Right Tripod for Real Estate Photography

A good, sturdy tripod will make it easy to capture sharp, clean images inside dimly lit rooms, where your shutter speeds are often measured in seconds.

Whenever photographers ask for tripod recommendations, they usually ask which tripod is cheap, lightweight, and portable, most likely to be used for travel and casual landscape photography.

Tripod Heads: Ballhead Versus 3-Way Head

Many tripods do come with both legs and a head, however it is also not uncommon to buy them separately.

The Best Lens for Real Estate & Architectural Photography

The ultimate “exotic” ultra-wide lenses for real estate interiors are currently the Canon 11-24mm f/4 L, Nikon 14-24mm f/2.8, Sony 12-24mm f/4 GM, and Sigma 12-24mm f/4 Art.

(Approximately 14mm)

Tilt-Shift Lenses for Real Estate Photography

(Note how all vertical lines in the image are actually vertical)

Any ultra-wide lens will get the job done, but there are also specialty lenses which are made primarily for architecture and real estate work: tilt-shift lenses. The question is, do you need one?

(Un-corrected, vertical lines may appear to “slant” even though they should not)

The Right Camera Body For Real Estate Photography

In fact, you should probably pick your camera based on the other types of photography you do, such as portraits, action sports, or landscape photography.

Crop-Sensor Versus Full-Frame Cameras for Real Estate Photography

In many genres of photography, owning a full-frame camera and lenses can offer significant, game-changing advantages.

Whatever sensor format you choose, the important thing is the lenses! Be sure to pick a camera body that has enough wide-angle lens options for real estate photography, and are within your budget.

Wireless Flash for Real Estate Photography

Is Wireless Flash Too Complicated For a Real Estate Job?

Bounced flash is the easiest way to begin adding illumination to a room (The flash is pointed at an area behind the camera that is not in the image)

The hardest part is simply getting to know the interface of the flash itself, but this is one of those times when the only thing to do is get out the user manual and go through it.

However if you’re not careful, you can wind up spending an hour or more on a single image! So, try and keep the use of wireless flash and composite frames as minimal and simple as possible.

Wireless Image Review & Camera Control Tools For Shooting Remotely

Aerial Real Estate Photography Equipment | Drones & Camera Poles

The Right Processing Tools for Real Estate Photography

Of course, even if you have a solid tripod, a great camera, and the perfect lens for the job, you still need to know how to edit the images you take, and what tools to work with.

You may also need to process HDR images in large batches for certain jobs that require multiple, similar images of a room or property.

Click Here To Learn More About Adobe Lightroom

Click Here to Learn More About Photomatix

Real Estate Photography Gear | Recap & Conclusion

You need a solid tripod. Heavier is a not a bad thing, because any photo shoot could involve slow shutter speeds, and likely bracketing or composite blending.

Almost any camera will do. Remember, the body is only part of the equation; the right lens is just as important, if not more so!

A remote trigger or wireless app is very useful. You can use self-timer too, but the remote operation is really worth it, and sometimes free!

Bracket multiple exposures when necessary to ensure detail in highlights and shadows. Most cameras offer bracketing of 3-7 frames, in 1-2 EV increments.

Post-processing software: Lightroom, Photoshop, and HDR software offer a seamless workflow for preparing raw files, merging bracketed exposures, or creating composite images in tricky situations.

Click Here to Read A Complete Overview of Real Estate Photography

Click Here to Read About The Business & Pricing of Real Estate Photography

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thephoblographer · 8 years ago

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The Nikon D850 surely has to be one of our new favorite DSLRs.

If you look around at various reviews of the Nikon D850 on the web, they’ll most likely rate it as one of the best cameras ever made thus far. In truth, it really does perform very admirably and it absolutely does have a great sensor at the heart. Professional photographers that were considering making some sort of move since the Nikon D810 hadn’t been updated in awhile have an option that is going to last them a few more years before the industry changes yet again. That statement is more or less the basis of my review. The days of being able to know that your camera won’t be updated for four years are probably gone, but that doesn’t mean that you won’t be able to take great photos with it long after it has been updated by some shiny new thing. The Nikon D850 is a fantastic image taking device and tool in the hands of the right photographer. It has a lot of great technology at the heart, but a part of me is wondering about its futureproofing.

One of the biggest features of the Nikon D850 is the 8K timelapse. Photographers these days are really needing to sometimes shoot more video in some way or another but there hasn’t been a total convergence of the mediums yet. So very personally, I truly wonder how long 4K video will be around and when 6K or 8K video may be the new thing. The Panasonic GH5 does 6K video already, and at the heart of it all what I really wonder is how fast is technology going to try to progress as these manufacturers try to outdo one another while constantly trying to disrupt the industry and provide less and less stability to the creators that they’re going for. Of course, it’s up to us creators to adapt. And we do. In biology, this is called cladogenesis–and it’s the process of rapid evolution to keep up with an environment. Just think about it: two years ago we were stricken by the Canon EOS 5DSr. But now we’re all in love with something else. That’s marketing and evolution for sure, but I think that we need to remember is that there may never be some sort of stability again. Nikon D850 owners/buyers should really remember this as mirrorless cameras continue to grow and capture more market share.

Pros and Cons

Trying my hand at a painterly technique with the Nikon D850

Pros

Fantastic image quality

Built like a tank

Buttons that light up

Touch screen makes the menu navigation so much better

Great color depth and versatility

Wifi and Bluetooth

Putting the ISO button on the right side of the camera by the grip is the better long term strategy

Weather sealing

Lots of video options

Dual Card slots

The best viewfinder of any DSLR that I’ve used, but still not as great as many older medium format DSLRs and SLRs.

Cons

Slower autofocus than the Nikon D810 in some situations

I wish the white balance levels were a bit more adjustable. Many of you may groan about fixing it in post and I know photographers that would want to smack you accordingly. But I maintain the judgement that having a consistent, film-like white balance can help you in the editing process so much more when it comes to both exposures and working with color channels.

Sort of shocked that the dual card slots aren’t both SD; I don’t know anyone that used XQD. Sony, the developer of the card, doesn’t even use them in their still cameras

I’m over DSLRs at this point except if they’re medium format. The viewfinders are bugging me now.

Gear Used

The Nikon D850 was used with the 28mm f1.4, 24-120mm f4, 16-35mm f4, and the new Irix 15mm f2.4 Blackstone. The Nikon SB500 was also used during certain shoots. For video, I used a Rode Shotgun microphone.

Tech Specs

Launch Time and Date Thursday, August 24, 2017 at 12:01 A.M. EDT Product Name Nikon D850 Type Single-lens reflex digital camera Lens Mount Nikon F bayonet mount Effective Pixels 45.7 Sensor Size 35.9mm x 23.9mm Image Sensor Format FX Total Pixels 46.89 million Dust-reduction system Image sensor cleaning Image Dust Off reference data (optional Capture NX-D software required) Image Area (pixels) FX-format (L) 8,256 x 5,504 (45.4 million) (M) 6,192 x 4,128 (25.5 million) (S) 4,128 x 2,752 (11.3 million) 1:2 format (30 x 20) (L) 6,880 x 4,584 (31.5 million) (M) 5,152 x 3,432 (17.6 million) (S) 3,440 x 2,288 (7.8 million) 5:4 format (30 x 24) (L) 6,880 x 5,504 (37.8 million) (M) 5,152 x 4,120 (21.2 million) (S) 3,440 x 2,752 (9.4 million) 1:1 format (24 x 24) (L) 5,504 x 5,504 (30.2 million) (M) 4,128 x 4,128 (17.0 million) (S) 2,752 x 2,752 (7.5 million) DX-format (L) 5,408 x 3,600 (19.4 million) (M) 4,048 x 2,696 (10.9 million) (S) 2,704 x 1,800 (4.8 million) FX-format photographs taken during movie recording (L) 8,256 x 4,640 (38.3 million) (M) 6,192 x 3,480 (21.5 million) (S) 4,128 x 2,320 (9.5 million) DX-format photographs taken during movie recording (L) 5,408 x 3,040 (16.4 million) (M) 4,048 x 2,272 (9.1 million) (S) 2,704 x 1,520 (4.1 million) File Format Still Images NEF (RAW): 12 or 14 bit, lossless compressed, compressed, or uncompressed; large, medium, and small available (medium and small images are recorded at a bit depth of 12 bits using lossless compression)TIFF (RGB)JPEG: JPEG-Baseline compliant with fine (approx 1:4), normal (approx 1:8), or basic (approx 1:16) compression (Size priority); Optimal quality compression available

NEF (RAW) + JPEG: Single Photograph Recorded in both NEF (RAW) and JPEG Formats

Picture Control Auto Flat Landscape Monochrome Neutral Portrait Standard Vivid Storage Media 1 XQD card and 1 Secure Digital (SD) card SD SDHC (UHS-II compliant) SDXC ( (UHS-II compliant) XQD Type Memory Card Slot Either card can be used for primary or backup storage or for separate storage of NEF (RAW) and JPEG images; pictures can be copied between cards. File System DCF (Design Rule for Camera File System) 2.0 EXIF 2.31 (Exchangeable Image File Format for Digital Still Cameras) PictBridge Viewfinder Eye-level Pentaprism Single-Lens Reflex Viewfinder Viewfinder Frame Coverage FX (36×24): Approx. 100% Horizontal and 100% Vertical 1.2x (30×20): Approx. 97% Horizontal and 97% Vertical DX (24×16): Approx. 97% Horizontal and 97% Vertical 5:4 (30×24): Approx. 97% Horizontal and 100% Vertical 1:1 (24×24): Approx. 97% horizontal and 100% vertical Viewfinder Magnification Approx. 0.75x (50 mm f/1.4 lens at infinity, –1.0 m–1) Viewfinder Eyepoint 17 mm (-1.0 m¯¹) Viewfinder Diopter Adjustment -3 to +1 m¯¹ Focusing Screen Type B BriteView Clear Matte Mark VIII with AF Area Brackets (grid lines can be displayed) Reflex Mirror Quick-return type Lens Aperture Instant-return type Electronically Controlled Depth-of-field Control Yes Pressing Pv button stops lens aperture down to value selected by user (A and M modes) or by camera (P and S modes) Lens Compatibility at a Glance*** AF-S or AF lenses fully compatible Metering with AI lenses Compatible Lenses AF NIKKOR lenses, including type G, E, and D lenses (some restrictions apply to PC lenses), and DX lenses (using DX 24 x 16 image area), AI-P NIKKOR lenses, and non-CPU AI lenses (exposure modes A and M only).IX NIKKOR lenses, lenses for the F3AF, and non-AI lenses cannot be used.Electronic rangefinder can be used with lenses that have a maximum aperture of f/5.6 or faster (the electronic rangefinder supports 15 focus points with lenses that have a maximum aperture of f/8 or faster, of which 9 points are available for selection). Shutter Type Electronically controlled vertical-travel focal-plane mechanical shutter Electronic front-curtain shutter available in quiet shutter-release, quiet continuous shutter-release, and mirror-up release modes Shutter Speed 1/8000 to 30 sec. in steps of 1/3, 1/2, or 1 EV, Bulb, Time, X250 Fastest Shutter Speed 1/8000 sec Slowest Shutter Speed 30 sec. Flash Sync Speed 1/250 sec. Synchronizes with shutter at 1/250s or slower Auto FP High-Speed sync supported Bulb Shutter Setting Yes Shutter Release Modes Continuous high-speed [CH] mode Continuous low-speed [CL] mode Mirror-up [Mup] mode Quiet Continuous Release Quiet Shutter Release Self-timer Mode Single-frame [S] mode Continuous Shooting Options Up to 9 fps With an EN-EL18b Battery inserted in a MB-D18 Power Pack: CL: 1-8 frames per second CH: 9 frames per second Quiet Continuous Mode: 3 frames per secondOther power sources: CL: 1-6 frames per second CH: 7 frames per second Quiet Continuous Mode: 3 frames per second Top Continuous Shooting Speed at full resolution 7 frames per second Self-timer 2, 5, 10, 20 sec.; 1 to 9 exposures at intervals of 0.5, 1, 2, or 3 sec. Timer duration electronically controlled Exposure Metering System TTL exposure metering using approximately 180K (180,000) pixels RGB sensor Metering Method Matrix: 3D Color Matrix Metering III (type G, E, and D lenses); Color Matrix Metering III (other CPU lenses); Color Matrix Metering available with non-CPU lenses if user provides lens dataCenter-weighted: Weight of 75% given to 12 mm circle in center of frame. Diameter of circle can be changed to 8, 15, or 20 mm, or weighting can be based on average of entire frame (non-CPU lenses use 12-mm circle)Spot: Meters 4 mm circle (about 1.5% of frame) centered on selected focus point (on center focus point when non-CPU lens is used)

Highlight-weighted: Available with type G, E, and D lenses

Metering Range ISO 100, f/1.4 lens, 20 °C/68 °F ‘-3 ± 20 EV (Matrix or center-weighted metering) 2 to 20 EV (spot metering) 0 to 20 EV (Highlight-weighted metering) Exposure Meter Coupling Combined CPU and AI Exposure Modes Aperture-Priority (A) Manual (M) Programmed auto with flexible program (P) Shutter-Priority Auto (S) Exposure Compensation ±5 EV in increments of 1/3, 1/2 or 1 EV Exposure Bracketing 2 to 9 frames in steps of 1/3, 1/2, 2/3 or 1 EV Exposure Lock Yes Mirror Lock Up Yes ISO Sensitivity ISO 64 – 25,600 Can also be set to approx. 0.3, 0.5, 0.7, or 1 EV (ISO 32 equivalent) below ISO 64 or to approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 102,400 equivalent) above ISO 25,600; auto ISO sensitivity control available Lowest Standard ISO Sensitivity 64 Highest Standard ISO Sensitivity 25,600 Expanded ISO Sensitivity Options Lo-1 (ISO 32 equivalent) Hi-1 (ISO 51,200 equivalent) Hi-2 (ISO 102,400 equivalent) Long Exposure Noise Reduction Yes High ISO Noise Reduction Low Normal High Off Active D-Lighting Auto Extra High High Normal Low Off D-Lighting Bracketing 2 frames using selected value for one frame 3-5 frames using preset values for all frames Single-point AF Mode Yes Dynamic AF Mode Number of AF points: 9, 25, 72, or 153 point dynamic-area AF, 3D-tracking, group-area AF Auto-area AF Mode Yes Autofocus System Nikon Advanced Multi-CAM 20K autofocus sensor module with TTL phase detection and fine-tuning, and 153 focus points (including 99 cross-type sensors and 15 sensors that support f/8), of which 55 (35 cross-type sensors and 9 f/8 sensors) are available for selection Detection Range –4 – +20 EV (ISO 100, 20 °C/68 °F) Lens Servo Autofocus (AF): Single-servo AF (AF-S); continuous-servo AF (AF-C); predictive focus tracking automatically activated according to subject status Manual focus (M): Electronic rangefinder can be used AF-area mode 9, 25, 72, or 153 point Dynamic-area AF Auto-area AF Single-point AF 3D-tracking Group-area AF Focus Lock Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing the center of the sub-selector Focus Modes Single-servo AF (AF-S) Continuous-servo (AF-C) Predictive focus tracking activated automatically according to subject status Manual (M) with electronic rangefinder Face-Priority AF Full-time Servo (AF-F) Normal area AF Wide area AF available in Live View and D-Movie only Maximum Autofocus Areas/Points 153 Autofocus Sensitivity –4 – +20 EV (ISO 100, 20 °C/68 °F) Autofocus Fine Tune Yes Built-in Flash no Flash Bracketing 2 to 9 frames in steps of 1/3, 1/2, 2/3, or 1 EV X-Sync Speed 1/250 sec Top FP High Speed Sync Up to 1/8000 Flash Control TTL: i-TTL flash control using RGB sensor with approximately 180K (180,000) pixels; i-TTL balanced fill-flash for digital SLR is used with matrix, center-weighted, and highlight- weighted metering, standard i-TTL fill-flash for digital SLR with spot metering Flash Sync Modes Front-curtain sync (normal) Rear-curtain sync Red-eye reduction Red-eye reduction with slow sync Slow sync Flash Compensation -3 to +1 EV in increments of 1/3, 1/2 or 1 EV Flash-ready indicator Lights when built-in flash or optional flash unit is fully charged; flashes after flash is fired at full output Accessory Shoe Yes Nikon Creative Lighting System (CLS) CLS Supported Flash Sync Terminal Yes White Balance Auto (3 types) Choose color temperature (2500K–10000K) Cloudy Direct Sunlight Fine-tuning Flash Fluorescent (7 types) Incandescent Natural Light Auto Preset manual (up to 6 values can be stored, spot white balance measurement available during live view) Shade White Balance Bracketing 2 to 9 exposures in increments of 1, 2 or 3 EV Live View Shooting Photographjy Mode (Still Images) Movie Mode (Video) Photography Live View Mode Movie Live View Mode Live View Lens servo Autofocus (AF): Single-servo AF (AF-S); full-time-servo AF (AF-F) Manual focus (M) Live View AF-area mode Face-priority AF Wide-area AF Normal-area AF Pinpoint AF Subject-tracking AF Live View Autofocus Contrast-detect AF anywhere in frame (camera selects focus point automatically when face-priority AF or subject-tracking AF is selected) Movie Metering TTL exposure metering using main image sensor Movie Maximum recording time 29 minutes 59 seconds Each movie will be recorded across up to 8 files of up to 4 GB each. The number of files and the length of each file vary with the options selected for Frame size/frame rate and Movie quality. Movie File Format MOV MP4 Movie Video Compression H.264/MPEG-4 Advanced Video Coding Movie Audio recording format Linear PCM, AAC Movie 4K UHD 3,840×2,160 / 30 fps 4K UHD 3,840×2,160 / 25 fps 4K UHD 3,840×2,160 / 24 fps Full HD 1,920×1,080 / 60 fps Full HD 1,920×1,080 / 50 fps Full HD 1,920×1,080 / 30 fps Full HD 1,920×1,080 / 25 fps Full HD 1,920×1,080 / 24 fps HD 1,280×720 / 60 fps HD 1,280×720 / 50 fps Slow-motion: Full HD 1,920×1,080 30p (x4) Slow-motion: Full HD 1,920×1,080 25p (x4) Slow-motion: Full HD 1,920×1,080 24p (x5) Actual frame rates for 60p, 50p, 30p, 25p, and 24p are 59.94, 50, 29.97, 25, and 23.976 fps respectively Quality selection available at all sizes except 3,840 x 2,160 (when quality is fixed at high) and 1,920 x 1,080 slow-motion (when quality is fixed at normal) Movie Audio Built-in microphone, stereo External stereo microphone (optional) Microphone sensitivity can be adjusted Monitor Size 3.2 inch Monitor Resolution 2,359,000 dot Monitor Type Tilting TFT touch-sensitive LCD Monitor Angle of View 170 degrees Monitor Adjustments Monitor Adjustments Manual 5 level Virtual Horizon Camera Indicator Yes Also visible in LiveView Modes Also visible in Viewfinder Playback Functions Auto Image Rotation Full-frame and thumbnail (4, 9, or 72 images) Highlights Histogram Display Location Display Movie Playback Movie Slideshow Photo Information Photo Slideshow Picture Rating Playback with Zoom Playback Zoom Cropping In-Camera Image Editing Distortion Control D-Lighting Filter Effects Image Overlay Monochrome NEF (RAW) Processing Perspective Control Red-Eye Correction Resize Side-by-Side Comparison Straighten Trim Trim Movie Image Comment Yes Voice Memo Function n/a Interface Audio input: Stereo mini-pin jack (3.5 mm diameter; plug-in power supported) HDMI Output: Type C mini-pin HDMI connector Headphone Connector SuperSpeed USB (USB 3.0 Micro-B connector); connection to built-in USB port is recommended Ten-pin remote terminal: Can be used to connect optional MC-30A/ MC-36A remote cords, ML-3 modulite remote control sets, WR-R10 (requires WR-A10 adapter) or WR-1 wireless remote controllers, or GP-1/ GP-1A GPS units Wi-Fi Functionality Standards: IEEE 802.11b, IEEE 802.11g Operating frequency: 2412–2462 MHz (channels 1–11) Maximum output power: 8.5 dBm (EIRP) Authentication: Open system, WPA2-PSK Bluetooth Communication protocols: Bluetooth Specification Version 4.1 Operating frequency: Bluetooth: 2402–2480 MHz Bluetooth Low Energy: 2402–2480 MHz GPS GP-1 GPS unit, GP-1A GPS unit Save/Load Camera settings Yes Total Custom Settings 55 My Menu Yes with customization Recent Settings Yes Supported Languages Arabic Bengali Brazilian Portuguese Bulgarian Chinese (Simplified and Traditional) Czech Danish Dutch English Finnish French German Greek Hindi Hungarian Indonesian Italian Japanese Korean Marathi Norwegian Persian Polish Portuguese Romanian Russian Serbian Spanish Swedish Tamil Telugu Thai Turkish Ukrainian Vietnamese World Time Setting Yes Battery / Batteries EN-EL15a Rechargeable Li-ion Battery Battery Life (shots per charge) Stills: 1,840 shots per charge Approx. 70 minutes of HD footage AC Adapter EH-5c/EH-5b AC Adapter; requires EP-5B Power Connector (available separately) Battery Charger MH-25a Quick Charger Tripod Socket 1/4 in. Approx. Dimensions (W x H x D) Approx. 5.8 x 4.9 x 3.1 in. (146 x 124 x 78.5 mm) Approx. Weight Approx. 2 lb. 0.3 oz. (915 g) camera body only Operating Environment Temperature: 32 to 104°F (0 to 40°C) Humidity: Less than 85% (no condensation)

Ergonomics

If you look at the Nikon D850, you’ll notice a fair amount of changes to a camera that is still more or less the same shape as the Nikon D810. But there are a few key updates you’ll notice more when you hold it, use it, and bring it up to your eye. For starters, there’s the Nikon D850 branding on the top front side.

When you look at the top of the Nikon D850 you’ll see that the pentaprism shape is now different. The reason for this is because Nikon removed the pop-up flash. Everything up top here will all look familiar to a seasoned Nikon shooter.

At the top right of the Nikon D850 you’ll spot the multi-control wheel. There are buttons for metering modes, camera modes, white balance and quality. Then below this is a wheel for drive modes.

On the top right side of the Nikon D850 you’ve got a big LCD screen to look at and change a variety of settings. Nikon also opted to put ISO control here as opposed to the left side–which we’ll get to in a bit. Video recording functionality is also here as well as exposure compensation. In use, this makes a lot more sense.

To the left of the Nikon D850 you’ll spot a whole lot of ports and connectivity. There is USB 3.0, HDMI, a headphone jack and a microphone jack. When you combine all this with Nikon’s newest initiative to give their lenses an electronic diaphragm, you’ll get something more tailored to video shooters. However, Nikon still has to compete with both Canon and Sony on that front.

Turn to the right side of the Nikon D850 and you’ll spot the dual card slots. It takes SDXC cards and an XQD card. For what it’s worth, I don’t know a single photographer who actually uses XQD cards. Lots of computers still have SD card slots, but not XQD slots.

Turn to the back of the Nikon D850 and you’ll spot some new tech here. The LCD screen tilts up and down as well as comes out. In addition to that, there are a few buttons on the right and a number of buttons on the left of the screen. New to the Nikon D850 is this FN2 button which can be programed to do various things. There is also direct flash control wired into another button.

Of course, there is also the big, beautiful viewfinder. Nikon’s viewfinders have always impressed me more so than Canon’s and part of this comes from the fact that I’m still legally blind. With my Mamiya RB67, I use a -4 diopter, and the fact that the Nikon D850 goes down to -3 will make it a bit easier to work with–though this viewfinder is nowhere as large as the massive prism on the Mamiya.

Build Quality

At one point during the Nikon press trip, the Nikon D850 took quite a splash from the whitewater river. But it survived with no issues; my shirt on the other hand… In addition to that, I took the Nikon D850 and the 28mm f1.4 out into a small rainstorm here in NYC. They both survived with no problems. I’m very confident that the Nikon D850 will survive most of what you throw at it as long as it has all the ports closed shut.

In the hand, the Nikon D850 feels really great and surprisingly never hurt my wrist at all carrying it all day long. It’s amazing that Nikon was able to pack this much into a camera like this. Professional photographers looking for a solid DSLR will find it with the Nikon D850 for sure.

Ease of Use

What Nikon did to really up their game in the ease of use area starts with the placement of the ISO button. With previous high end Nikon cameras, the mode button was on the right. But the ISO button is there now and it makes the experience of shooting without leaving the viewfinder so much more straightforward right out of the box. Putting the mode button along with the white balance and quality buttons on the top right is a welcome change.

Then there’s the other big part: the touchscreen. Navigating Nikon’s menus is so much faster now. Nikon’s menus were always pretty simple and this lets you cut to exactly where you want to go. Plus when shooting video or some stills, you can touch the LCD screen and shoot immediately. People who are brand new to photography and have some disposable income that want to buy the Nikon D850 and shoot it in auto will not only earn the scoffs of many photographers, but also may have a tough time with it due to its higher levels of complexity and there being no auto mode. but veteran Nikon shooters and photographers who are coming over from Canon may find things here that they really like.

Nikon also added two ways to move the autofocus point around: there’s a little joystick and there’s the D pad. That’s quite a bit to give photographers!

Autofocus

Now here’s where I was scratching my head for a bit until I showed it to a veteran Nikon shooter and he agreed with me. The Nikon D850 in my opinion is slower to autofocus than the Nikon D810 by just a bit. You won’t notice it unless you’ve shot a lot with the Nikon D810. But it’s also not always as accurate. There were times that it has missed the focusing for sure but to its credit, the Nikon D850 was trying to focus in very difficult lighting conditions.

Believe it or not though, I think that the Sony a9 has a better focusing system than the Nikon D850. Yes, crazy right?

Tracking focusing for the Nikon D850 worked very well, however. And in situations where you want to get even closer to the action, the DX crop mode is really great.

Metering

The Nikon D850 follows the Sunny 16 methods of metering to a T more or less. But as I was working with the camera, other journalists started to think that the Nikon D850 needed to be underexposed a bit to get the best results for editing. That way you’d be able to pull in more from the highlights and push the shadows. That’s more or less what I did in really contrasty lighting situations. But otherwise, I relied on the Nikon D850’s great RAW files to get what I wanted and needed out of Capture One Pro.

Image Quality

Image quality from the Nikon D850 across the board is absolutely solid. DXOMark confirms this and the Nikon D850 has a sensor with results that are very forgiving providing that you know what you’re doing. Most photographers may use Adobe Lightroom; Lightroom will do a good job but not as well as Capture One Pro–which can be set up to be just like Adobe Lightroom more or less but with more emphasis and focus on certain parts of the photo.

One thing that I should really talk about first and foremost is the square crop mode. I love it and I’ve always been in love with square photos due to the simplicity that they can pack into an image. They’re both the simplest and the most complicated images to make.

Before I go on, here are some other images that I really like.

Video

So if you haven’t subscribed to our YouTube channel, you should really do so right now! Part of my testing with the Nikon D850 involved shooting these two videos of Kevin Mullins and David Hobby over at the Fujifilm festival.

Granted, these are pretty simple, journalistic videos. But they go to show that anything and everything these days are more than good enough and that all that matters is the content. This is something that I always want to reiterate to photographers and creators.

RAW File Versatility

Edited

I purposely chose this scene because it encompasses what a lot of photographers will be looking for in the Nikon D850. This image of Mike from Steve’s Digicams was shot using a Speedlight in HSS mode. It showcases dynamic range and skin tones both. If you’ve gone so far as to edit color channels, you’ll understand that this is difficult because his skin tones are associated with the dirt in the background and his LL Bean logo. Plus his hair isn’t far off and the greens in the hat aren’t far off either. However, by tweaking the dynamic range of each color channel and then the overall scene, I was able to get this photo above.

Original

Here’s the original. The original image isn’t so bad either.

High ISO Output

ISO 12,800 on the Nikon D850 is very usable and in my experience, I haven’t really needed to go above that practically. But the High ISO output from the Nikon D850 is indeed very good. I haven’t been able to make prints with the files though but I’m very confident that I’ll be able to make big 11×17 inch prints with no problems at all.

Extra Image Samples

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Conclusions

Likes

Image Quality

Nikon’s best attempt at an OVF

Handling

Dislikes

Big size

I’m over DSLRs at this point despite the fact that I acknowledge them as fantastic image making devices.

The Nikon D850 is an absolutely fantastic camera in so many ways. Need great image quality? The Nikon D850 arguably has some of the best on the market though I’m not sure how much of a difference photographers will notice vs the Nikon D810 and the Nikon D850 when you look at the images as a whole. Your clients surely won’t notice. The only way that anyone will truly notice at this point in photographic technology is by printing a whole lot. Besides the imaging sensor though there are a lot of nice touches to the Nikon D850 like the fact that the buttons now illuminate when you activate the LCD light, the ISO button, the touchscreen, 8K video, and Nikon’s attempt at their best viewfinder yet. Then there is the weather sealing, etc. Where I feel lke it falls a bit short though is on autofocus.

Photographers and professionals will do great work with the Nikon D850 for sure.

But on a personal level, I’ve taken this into consideration very carefully. On a recent Canon press trip, a Canon rep was touting how mirrorless cameras were needing to become sizes of DSLRs and make lenses are big as the offerings from DSLRS. But he didn’t incorporate the weight at all, and how they’re still smaller overall. And that’s what I’m all about these days. the Nikon D850 is very capable but it could have been done smaller, with an EVF, etc. Even if it was still F mount, I would’ve considered springing for it and even switching my Sigma glass mounts and my lights. But DSLRs take up so much room in my camera bags when I need to go on gigs and go shooting. As I shoot more medium format film, I’m shocked at how comparable they are in sizes. Personally, I still get more from medium format film for the size and weight factor. I’d rather go a bit heavier and get a larger negative. Plus, EVFs let me do so much more at this point.

Sony and Fujifilm at the moment have my heart; but Nikon was very close.

Either way, my personal feelings don’t at all negate the fact that the Nikon D850 is a fantastic camera.

The Nikon D850 wins five out of five stars and our Editor’s choice award. Want one? Check out Amazon for the latest prices.

The Nikon D850 is surely one of the best DSLRs made thus far. But I'm getting over DSLRs at this point. The Nikon D850 surely has to be one of our new favorite DSLRs. If you look around at various reviews of the Nikon D850 on the web, they'll most likely rate it as one of the best cameras ever made thus far.

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