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Schon eine Weile auf der Agenda, aber immer wieder wg fehlenden schnellen (und bezahlbaren) 4K Kameras auf die Bank gestellt.  Neuer Anlauf mit der Nikon 1. Die macht immerhin 30 oder 60 Bilder/s in 4k. Klaro das geht nur lächerliche 1 oder 0,5 Sekunden lang, aber mit Stabilisierung und Interpolation (Adobe AfterEffects Warp + Twixtor) kann man durchaus 2-4 Sekunden Slomo generieren.  Hier ist nur die Frage wie stabilisiert man das und ist die Auslösung parallel  mit dem DSLR Kit möglich (no way bei der Nikon 1), denn auf den Vollformat HighRes-”Schuß” will man ja nicht verzichten.

Leider hat Nikon das 1er-System derart verstümmelt, dass kaum kreative Dinge gehen: kein Kabelauslöser, kein 10pin, der IR-Auslöser lässt sich nicht zusammen mit dem 60fps-Modus nutzen. 60fps gehen nur im Auto-Alles Modus (Häähh?=>sehr ärgerlich).  Langzeitbelichtungen gehen gar nicht (max 1 Sekunde). Mit dem FT-1 Adapter geht nur ein AF-Feld! Immerhin macht ein Firmware-Update jetzt AF-C mit dem FT-1 und den Vollformat AFS-Linsen möglich. Besonders ärgerlich ist jedoch das Nikon das mit der neuen Nikon 1 V3 nicht erheblich anders gemacht hat – nur das die V3 mit allen Extras 1200Euro kosten wird. GoPro hat gezeigt was mit einfachen Systemen bereits geht. Warum das (bis auf Panasonic vielleicht) kein Hersteller  aufgreift ist schleierhaft.

Bleibt zu testen wie sich die V1 auf dem Wasser macht, mit dem 2,7x Crop Faktor ist zumindest genug Telepower im Rennen. Das 70-200mm f2.8 wird ganz fix eine 190-540mm f2.8 Optik und der Autofokus ist ordentlich fix.

Vielleicht ist aber etwas mehr Arbeit im FitnessStudio nötig demnächst. :)

 V1-20140318--6943

 

 

 

Happy New Year 2014!

Allen ein erfüllendes und gesundes neues Jahr 2014.

Besonderer Dank an Alle, die in 2013 wieder diese Seiten unterstützt haben!

 

SMH-XMAS-510-20131227-6093285-9076Wasser am Ufer des Schlachtensee (Berlin).

“It is never to late to start again but yes it is always very early when one gives up. Happy New Year.”

Frohe Weihnachten!

Besinnliche und inspirierende Feiertage!

 

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Nikon AFS 14-24 mm f2.8G: This lens is the end of the (endless) search for the perfect wide angle lens. Its as simple as that. Get this one and stop (and forget) all the testing : ).  Since photography went digital a sharp wide angle has been like the mythical unicorn – it just wasnt there anywhere. The 14-24 is the magical solution for all that wanted this full frame edge-sharp wide angle lens. The wide open performance without any degradation in  sharpness etc.

In short:

+ Sharp wide open in the center and in the far corners,

+ sharp at 14 mm,
+ sharp at 20 mm and
+ nearly as sharp at 24 mm though it wee bit softer in the edge than at 20 mm,
+ creates nice sun stars closed down,
+ has (on the D800) only minimal CAs at 14 mm (that can be easily corrected in post),
+ focus is fast and silent,
+ build is absolute top notch (the lens virtually melts with a D3 – there are no mount tolerances),
+ manual focus is super smooth without any glide coupling offsets.

 

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Front element is protuding and exposed to some degree at 14 mm setting.

 

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With the heavy duty Single Digit Nikons the 14-24 just pairs perfectly and weight balance is nice.

 

The lens is heavy but sits in your hand like a tool that asks to be used with precision and knowledge – somehow just stimulating.
The lens has low coma at f2.8 –  so,  for night time photography this is just the dream of “shooting a wideangle without need to close the aperture” coming true because the f2.8 shots at iso1600 wide open are in no way a compromise. So far my experiences with all wide angles were always a mixed bag. The fixed focal lenses with 20 mm and less did not deliver (Nikon 20 mm f2.8 AIS, 18 mm, 14 mm and the Voigtländer 20 mm f3.5 or the Sigma alternatives were not much better). Some praised the new Zeiss ZF 15 mm and the legend – the older Zeiss ZF 21 mm f2.8 but they sell for the same or higher price, no AF and only one focal length, other alternative at least for the night time photogs: Rokinon (also known as Samyang). Rokinons are very affordable priced and are nicely coma corrected. A great start would be the 14 mm Rokinon.
On the plus side for the 14-24: it also works nicely with an IR converted camera. There is no hotspot with this lens.
.
If you have to use a wide angel lens wide open, than the 14-24 is the tool that will deliver.  The edges will even improve sligthly if you close the lens down to f4 and f5.6 though hardly in a range that is very much relevant.
.
Only “problem” with the lens is its big front glass – you pay for the uncompromised engineering of this construction unaffected by accountancy or management restrictions. This is a product of a 100% performance oriented and engineering dominated design decisions.
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Minor moanings:
- the lens cap is a problem – I just dont like that solution – it just shouldnt be slip on, they could have easily created a locking mechanism that
snuck fits on the sun shade.
- And for some a problem: no easy filter solution – you have to get the big special 1424 designs – expensive and huge glas plates.
- The lens can also show some strange flare  when you directly shoot into the sun. It creates rainbow like reflections that are hard to remove.
So overall the best around for the available light freakes, indoor interior, astro photographers, star trail and polar light /aurora photography or for night time shots of urban scenes, light house shots at night and so on – you get the message. If you only need a coma free lens for astro shots I would suggest the 14 mm Rokinon, but if the lens is to be used also for other applications than the 1424 will deliver. I sold my old Tokina 124 DX lens and will also leave the Nikkor 28 mm f2.0. That feeling of wide open top performance makes me even rethink if I shouldnt sell my Nikkor 20 mm. … mmh the 20 is sooo small its just a very different horse ähem pony maybe.
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Some shots from this year:

 

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Pretty much the perfect lens for fireworks at 24 mm but occasional you will likely grab the 24-70 for these events.

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Full frame 14 mm shot at f22 – sun in the corner with strong flare.

 

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Subset from the full frame shot above – the color halos are nasty, but you can avoid them easily when you change the direction of the lens a wee bit. Therefore here I really just wanted to show how it could look like if you do not take care but it is avoidable.

 

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470er IDM2013 Galerie online

IDM Galerie gibt es nun hier:

http://soeren.zenfolio.com/470eridm13

Recht viele Bilder in der LR Datenbank – online ist jetzt nur ein Ausschnitt.

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IDM der 470er bei 4-6Bf

Naja was will man mehr in Berlin – schlichtweg tolle Bedingungen für die IDM der 470er. Hätte vielleicht noch aus NordWest wehen können mit den 4-6Bf, ansonsten gibt es aber nix zu meckern. Hier war Action an der Luv-Tonne garantiert, auch der Raumschotkurs zum Ziel (obwohl leider etwas kurz) hatte Spektakel zu bieten für die photographisch Ambitionierten : ).  Slideshow mit den Top50 ist schon hier online: http://www.sailpower.de/index.470er13.htm

Der VSaW hat dankenswerterweise mit einem Mobo ausgeholfen – war ja ansonsten leider etwas unmotorisiert dieser Tage. Ggf. ein Schaden an der Welle unseres Kutters – man wird sehen.

Kleiner Preview hier:  die ersten 3 Bilder sind mal eine Auflösungs-Demo. Mit der entsprechenden Optik und ultrakurzen Belichtungszeiten  (alles zwischen 1/3000 und 1/8000 Sekunde geht) erzeugt der 35MP Sensor der D800 einfach immer wieder verblüffende Details. Inzwischen bin ich derartig verwöhnt von der “8″, dass ich die D3 eigentlich nur noch für die Starts mit dem 70-200er zusammen nutze.

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35MP FX Full Frame (14 Bit) aus dem D800 Original NEF.

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14MP Crop aus dem FullFrame.

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6MP Crop vom Full Frame

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Want more? 2MP Subset und immernoch genug Auflösung, um für Ausdrucke zu resamplen. Gewebetexturen erkennbar und Uhr sauber ablesbar … mmh “never fails to amaze me …”.  Und Noise? Bei Iso500 praktisch zu vernachlässigen in gutem “Post”.

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mtk on http://soeren.zenfolio.com/470eridm13

 

Schöner Kaiserpokal in 2013

Der Kaiserpokal hat ja inzwischen in Berlin eine schöne Tradition und die bekannten Klassiker der Stadt sind immer dabei.  Dieses Jahr fing die Regatta etwas schwachwindig an. Am Sonntag waren dann aber sehr schöne Bedingungen. Durch die Überlappung mit der IDM der 505er am Sonntag war ich etwas abgelenkt aber insgesamt sind doch einige gute Aufnahmen entstanden. Fafnir und RoundTheIsland habe ich so überhaupt nicht fotografiert dieses Jahr, aber man muss halt Prioritäten setzen : ). Dieses Jahr sind ein paar Spiegelungen an den Bootsrümpfen ganz ordentlich gelungen.

Sowas ist im Prinzip kaum zu planen, man kann sich nur vornehmen bei einigen Booten mal verschiedene Aufnahmewinkel im Tele zu beobachten und eine entsprechende Perspektive mit dem Mobo abzufahren. Es muss aber auch gerade etwas zum spiegeln geben – also benachbarte Boote oder eine stark aufgeraute spitze Welle und dann muss die Krängung des Bootsrumpfes stimmen. Alles nicht wirklich kalkulierbar oder planbar. Bei den Klassikern gibt es jedoch durch die Tiefen Lackschichten oft einige Kandidaten, die man sich schon vorher ausgucken kann. Dann verstärke ich allerdings auch durch lokalisierte Microkontraständerungen hier und da etwas den Spiegelungseffekt.

Volle Galerie zum Kaiserpokal goes here: http://soeren.zenfolio.com/kaiserpokal13

 

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Gleich mehrere Highlights in Folge: dieses Wochenende der schöne Kaiserpokal des BYC und die letzten Wettfahrten der 505er IDM, außerdem BMW Sailing Cup.  Ein ziemlich voll gepackter Zeitplan um das alles zu erwischen. Am Abend davor war ja dann auch noch “Wannsee in Flammen” und die Ü30 Opti Regatta im SCAHOI – also alles kaum zu schaffen .

Die 505er IDM ist nun hier online:

http://soeren.zenfolio.com/505eridm13

Preview Slideshow gibt’s hier: http://www.soerenhese.de/index.505er13.htm 

Ü30 bin ich ja mit gesegelt, also keine Fotos, aber die Kidds haben einige Bilder gemacht – vielleicht sollte ich mich da mal umhören : )

Kleiner Preview zum Kaiserpokal  (22er Schärenkreuzer “Eos” / H-Jolle “Südwind”): SMH-KP13-510-20130922-6093285-5737

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The GoPro Hero3 Black Edition for Yacht Photography:

Within the action camera segment ”GoPro” is successful since a while marketing their cameras for swarm like applications. They also started a very successful marketing campaign  when they introduced the GoPro Hero3 and launched the camera with a mind blowing teaser video. Nikon did an attempt to position the Nikon 1 System in a comparable niche but they basically failed to do that, although the Nikon 1 system is much better suited for still photography than the GoPros but it lacks the crazy movie modes, the under water housing is an addon and it isnt as compact and versatile and has no WIFI. The new  Garmin Virb is likely the closest competitor right now.

So how about using the GoPro as a camera for the submerged out of the water “from below” shots. For those shots usually you buy yourselve into one of the various under water housing systems (Ikelite, Aquatica or AquaTech). They all provide DSLR housings for various cameras and they will set you back for around 1500-2500 Euro. Doing so you in fact put your DSLR and a wideangle lens in that housing and you trigger quasi-remotely by cord. IR receiver or high freq. receiver are not directly mountable within these housings.

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The Hero3 Black Edition side by side with an iPhone – the camera is just tiny – there is no viewfinder no display and you basically operate this camera with only two buttons. The camera however makes a solid and well build impression and the water proof housing is made of tough plastic and will likely take some beating.

The GoPro H3 Black comes with an integrated Wifi connection with remote control and can be even triggered, controlled and previewed with an ipad or iphone. The GoPro H3 Black Edition (the top model of the Hero3 with integrated Wifi ) costs only about 450 Euro (with battery BacPac).

The critical question is the one about image quality. The GoPros are clearly optimized for 1080/60p footage (movie recording in FullHD and 60 frames/second). There are various other movie settings avail with the “Black” edition – just check the following sites for reference:

http://abekislevitz.com/understanding-your-new-gopro/

http://abekislevitz.com/understanding-your-gopro-part-2/

http://www.dpreview.com/articles/1284782993/gopro-hero-3-black-setup-guide

The most interesting footage setup for the still photographers however is the 4K movie mode!

With this mode you capture nearly 8 Megapixel motion files with 12-15 frames/second. You can also shoot in a JPEG still burst mode but these bursts (f.e. 30 shots in 1 second) create compressed JPEGs that have lots of artifacts.

The 4K movie mode delivers astonishing sharp and well defined stills if you activate “Protune”. The Protune setting will switch off some of the automatic color balancing and saturation settings – also compression seems to be handled better. From a 4K clip you simply drag the stills you need. Overall this is imo. the best choice to create stills with the GoPro H3Black and you have lots of material from the dense time series of the 4K footage available. Adobes MediaEncoder is also able to drag all Frames into one directory. That is handy because scrolling frame/by/frame through 4K footage really istnt too much enlightening –  especially when the footage is upside down ; ). Large movie files quickly generate thousands of JPEGs. It than really gets difficult to find the few keepers that you wanted.

The question remains: how good is this tiny sensor (its just 5,73 x 4,29 mm – 1/2,5″). This is just ridiculous from a signal to noise ratio point of view. And if you look at the area statistics of these different sensors its even more obvious.

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Sensor sizes from different imaging systems (source: wikimedia commons, wikipedia)

 Obviously the sensor cannot compete with a full frame DSLR sensor. Dynamic range is disappointing if you are used to work with full frame 14Bit RAW files. Highlights are easily blown out. Sharpness is also a bit compromised but not as much as one would expect from frame captures of 4K film. There is also some color fringing with the GoPro Wide angle (blue/yellow) but this is easily corrected in post processing. More difficult is the precise color correction and white balance. The files clearly do not “behave” the same way as original RAW files from a DSLR. I would rate the 4K frame grab at somewhere around 5-6MP instead of 8MP. These files do not qualify for huge plots but they are good enough to work for the usual plot size around A3 sizes.

Overall I believe the GoPro H3Black is a good addition for these extreme low “below water” perspectives and it is a system that can be setup very quickly and can be controlled and positioned to generate crazy perspectives easily mounted on a 2 – 3m monopod.

What is missing:

  1. larger files (4K is limiting when you are used to full frame 35MP DSLR Raws) and the 12MP still jpegs are full of compression artifacts!
  2. dynamic range is disappointing, you need all the light you can get.
  3. raw modes (or fine detailed artifact free jpegs) are missing for stills (why oh why is a real raw format missing? – a real bummer for the high image quality fanatics out there)
  4. battery performance is a joke – buy the battery BacPac addon (also adds 50 Euro),
  5. needs all the light it can get to create dynamic range! not a low light hero at all (tiny sensor)
  6. make sure you update the firmware! the camera needs the last firmware update to work with some accessories
  7. no control over exposure parameters – its fully automatic – your flying in P Mode only

What there is to like:

  1. small and powerful video FullHD machine – gives clean and sharp 1080/60p footage, also 1080 frame captures are clean and sharp.
  2. various video settings, also usable for time-lapse projects
  3. Wifi setup works out of the box and the GoPro is very well controllable from iphone or ipad devices (though with 2s delay in liveview update -> this is unusable for action)
  4. size and format makes it the perfect “go everywhere” trick of a tiny camera for water sports and outdoors.
  5. endless options for mounting the tiny thing through additional accessories.
  6. “4K cine” footage still capture with Protune set to “ON” is very usable

Overall:

the GoPro Hero 3 Black is a powerful addition for very specialized still applications. It is optimized for 1080&60p footage but its super compact size makes it a very interesting for extreme viewing angles. Its likely the most affordable solution for the semi-dived shots where a full water proof housing would bee needed. Due to the low weight the GoPro H3 has the potential for extreme shooting positions that are hard to achieve with standard housings. But imo we are not there yet. The still captures are just not good enough for full professional use. The camera works fine if you only use the footage options – want film in FullHD 1080/60p. Photography is however not the focus of GoPro and it shows. It is really strange that they do not provide a RAW option or an JPEG uncompressed option and even if this means 5fps – that would be fine but this option isn’t there! So finally  I am right now also looking furtively at the Nikon V1 and might give that camera also a test drive. Its still capabilities and AF with full frame lenses has also some potential for slomo filming using the burst modes but the accessory list seems to be a bit of problem because the “1″ must be triggered together with my usual DSLR /Tele combo for the slomos and there is no wired trigger avail. for the “1″.

There is also one other aspect: you get used to these extreme viewing positions and the original “wow” perception effect just vanishes quickly imo. So the whole concept should be used only in low concentrations.

Some examples from the last regatta shootings:

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Original 4K capture unprocessed with ProTune “On” taken from a 5 min 4K footage

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4K footage still capture with Protune after Adobe Lightroom 5RC2 color correction, CA correction, lens correction (distortion and vignetting) and WB correction and with additional sharpening using a high masking setup (LR: 48/1.0/25/77).

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Overview with Lens profile applied

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Full Resolution subset from above.

Overview

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Full resolution subset from above

Some more shots from the 4K frames:

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For those interested here is a full res version of the file above

Reichlich gemischte Bedingungen zur Deutschen Meisterschaft der Nordischen Folkeboote. Erst herbstlich kalt und regnerisch bei Boe 6Bf, dann spätsommerlich bei 24 Grad 3 -5 Bf. Insgesamt eine schöne Meisterschaft. Volle Galerie bei http://www.sailpower.de mit allen Veranstaltungslinks:

http://soeren.zenfolio.com/folkeidm2013

Preview goes here:

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