The Nikon D5500 is the successor to the Nikon D5300. Although it is directly designated as ‘D5500’, skipping the intermediate ‘D5400’, we can find in it only ‘tiny differences’from D5300.
New in the Nikon D5500:
Although at this point touch screens are not a novelty among digital cameras, the Nikon D5500 has just become the first reflex camera from the company in adopting this feature. It is one of the main novelties of a SLR camera that takes over the D5300, inheriting its APS-C size CMOS with 24 megapixel resolution and a low-pass filter.
The wifi conection premiered already by the D5300, also mentioned in the Nikon reflex catalog, is again present on its successor, whose monitor becomes the main thing of this renewal. An articulated touch screen that grows in size up to 3.2 inches and has a resolution over 1 million points.
The Expeed 4 processor remains untouched from the previous version, and so is the burst with up to 5 frams per second with a 25,600 ISO maximum Native sensibility. Nikon promises an optimized performance in terms of noise control.
Because of Apple PCs’ excellent screen, the presentation of color gradation, hue, and contrast is much better than that of traditional PC computers. Therefore it is the main choice for many professional video and photograph editors. In particular, the recent launch of the Apple MacBook Pro and MacBook Mini with retina screens further established its position of having the professional user in mind. The only drawback is that macbook pro’s 13 or 15.4-inch screen is too small. In fact, the MacBook Air only has an 11.6-inch screen. If you usually just use Mac to browse the web, screen size it is not so important; but for those who run complex software (such as Xcode or Photoshop), the MacBook’s screen cannot cope with all the windows. Users will need to keep pressing Option-Tab to switch between windows. An external monitor allows you to have more display space to help you get the job done more efficiently.
It is worth mentioning that an external monitor not only means a larger display space, but there is also some software specially optimized for multi-display software (such as Aperture and iMovie) that allows users more convenience. For example, if you use iMovie to edit video on a single display, the movie preview windows will be pushed to the upper-right corner of the screen by other windows. If you have two monitors, you can use one screen exclusively for the movie preview and put the other windows on another monitor.
This very same night, in the CES 2015 scope, Nikon, the photography company has introduced their new mid-range APS-C camera, the Nikon D5500 – forgetting all about the Nikon D5400, because in Japan, 4 is means bad luck. A new camera that has very little or almost no improvements over its predecessor D5300, a very good camera for its segment and price.
This camera introduces a series of small improvements. The first one is the 3.2 inches touch-type screen with more than one million dot resolution, a relative enhancement that can improve its use, but is still a minor improvement. Also, you can find small design tweaks, the camera dials have been changed a bit and it also looks like the handle has a new shape. The truth is that even without testing it, it looks like the camera is quite comfortable.
The operation and performance over its predecessor is very similar. They both have the same 24 megapixel CMOS sensor with an APS-C size, with the same image processor; the Expeed 4 that will take 5 frams per second, 39 focus points and a maximum ISO of 25,600. Nothing new there. Although, the Japanese company assures that the performance will be better and they have improved the image processing and it’s supposed to reduce a bit the high sensitivity noise, which is necessary because even low end cameras like the D3300 have a better performance. So we could say that the difference is minimum, but still a difference.
If you are up to date with the photographing world, the release of the several high end cameras that lack the AA filter or Optical lower pass filter might have caught your eye. I am taking about cameras such as the Nikon D800E or the Pentax K-5 IIs, which are special versions of the D800 and the K-5 II respectively, but also cameras like the Nikon D7100, and the lastest Nikon D5500, which were released without the filter.
You are probably wondering why these camera versions are more expensive even though they lack of something the normal version cameras have. In this post I will try to explain what this filter consists of, what is it that it normally does and what are its advantages and disadvantages of not having it in our cameras.
Fujifilm presents its new lens for the X series cameras, the Fujinon XF 16-55 mm f/ 2.8 R LM WR.
It is, as indicated by the WR acronym. a sealed lens against the weather, in 14 points, which is added to that effect to the Fujinon XF 18-135 mm f / 3, 5-5.6 OIS WR and Fujinon XF 50-140 mm f / 2.8 R LM OIS WR and the Fujifilm X-T1 and X-T1GS cameras, which also enjoy such protection against harsh environments.
On the X-Trans APS-C sized captors that are mounted on the Fujifilm X Series, the equivalence is approximately 24 to 82.5 mm.
A few days ago, Canon launched the EOS 7D Mark II at photokina. Like the previous model, which now goes back to 2009, it is a top-of-the-range reflex with APS-C sensor, made for professionals or advanced amateurs. Given the excellent technical specifications – and the fact that it’s just been launched -, the list price is important: $1799 for the camera alone. So, many have been asking if this type of model had been improved given the presence of Full Frame at a lower price, like the EOS 6D to stay in the Canon house. We’re ruling out of the evaluation the condition in which a user already had a Full Frame or APS-C camera, in case they want to deal with the choice to keep the investment made active, and we focus instead on comparing those two models as though it’s a first purchase.
The advantages of the 6D’s 35mm full frame sensor are obviously divided in two fundamental areas: a better output at high ISO and lesser DoF (depth of field) with the same focal length and aperture. In short, a Full Frame we had imagined to be cleaner with the same sensitivity and that has a greater “tridimensional effect”. In reality, this last factor may be considered for some uses to be an advantage, because on the APS-C we had the possibility of using the same aperture that we use on the Full Frame and have more focus area. It all depends on the result we want to achieve; however, it’s always about a difference between the two worlds. We say that if we usually take pictures with ISO superior to 3200 for necessity reasons, then the 6D has a first important advantage.
In the past, photos shot by the A7 have more serious glare problems, then has the new A7II improved in terms of avioding glare? Here is a group of actual tests, through which we can see its improvements.
The lens I used for the A7, A7R is FE16-35, and for A7II is FE24-70 , both using Manual (M) mode, aperture F11, Shutter speed of 1/20, auto ISO, and auto metering, with a slight difference between light and dark due to the slight differences in lens and position, but I don’t think it has effects on glare tests.
If photographers to digital, you will need a computer and a monitor to see your photos, in order to evaluate or retouch them. And if you want a job well done, as often happens in photography, you can’t rely to a monitor any but you have to choose with care.
Does this mean to know how to decipher new mysterious acronyms and compare technical characteristics that seem to be made to be covered only by an engineer.
Of course, you can find monitor extremely costly, designed for professionals who can give background to pockets more capacious, and luckily, there are affordable alternatives that are, in any case, a leap in quality compared to the monitor based on a laptop or a desktop computer.
Late last month, Sony silently launched the latest full-frame mirrorless camera A7II. I can’t help but admire how well Sony kept this innovation confidential before its release. Sony is perhaps one of the few companies that could afford to launch a new model of a full-frame camera at a yearly rate. Actually, it’s no wonder that the A7 series has been selling so well. Their integral market performance since their release is surpassing Sony’s expectations. The latest A7II may have caused some confusion for those planning on purchasing one– Sony α7II and Sony α7, which model is better?
Before that, we all regarded such three models of A7, A7R, A7S with different positioning as the three brothers of the full-frame SLR cameras of the Sony A7 series; however, the latest A7II is the brother with the closest relation of next-of-kin to A7. Nevertheless, among these two brothers, which one is really worth our choice? This is a question we need to ponder. Since the A7II was just launched, currently its single body price is $1698, while the A7, which has been marketed to more than one year, features a higher performance price ratio and its current price on Amazon is only $1298, and with such a price gap of $400, we can nearly buy another Sony A6000. Then, what is the worth of such a gap of this $400?