Is time to draw some conclusions and share some of my my personal thoughts about those cameras.
Print ( 300 dpi). Above 16 MP and below 18 MP pictures. You can can see the size difference, but its quite small.
Output – prints: I also printed out the comparison images with typical 300 dpi resolution that gives you approximately A3 size prints. Printing those images clearly reduces perceptible noise and adds value by making those moments more tangible. The differences between the D4 and 1D X become even smaller. Continue reading
In this second synthetic test of our 1D X and D4 evaluation, we are going to look at dynamic range, or more simply put, we’ll test how much usable detail we can push up from the darkest areas and pull back from the brightest areas in the RAW files of these cameras. Previous articles in the series:
If you are a photographer, you can probably guess which half of the image below offers a greater chance of recovering a usable image:
Left half 5 stops underexposed, right half 3 stops overexposed
We had a pretty good idea, too, but decided to test it anyway and in the process, compared how good the cameras in our test are at recovering information from under- and overexposed areas of the RAW image. Continue reading
Red Lips. January 2013 (Nikon D4)
Most studio images in our country are shot on crop sensor or 35mm full frame cameras. The jobs are done, the clients are generally satisfied and don’t know what else to wish for. Still, it’s good to know that even in photography there are generally optimal tools for particular genres. For reportage and documentary work – 35mm full frame cameras, for portraiture – medium format cameras and wide format cameras for landscape. Continue reading
Take-off. January 2013 (Canon 1D X)
We continue our high-end camera testing with some practical action shooting in poor light conditions. Previous articles in the series:
This is the story of D4 and 1D X in their natural environment – in poor lighting conditions, catching fast movement. Continue reading