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Larry last won the day on 16 February

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  1. Very true on what you said regarding the lenses. Essentially, the A9 could conceivably work if the 70-200mm f/2.8 is long enough for what one shoots for. While cropping is an option, the 24mp sensor constricts this avenue. Thom Hogan highlights this point about lenses here: As to the ability to shoot quietly using only the electronic shutter, this option has been available under previous Sony, Olympus, Panasonic and Fuji camera models. The A9's primary contribution is the ability to do so at a higher frame rate with a bigger buffer as the m43 and APS-C cameras can make up for their small sensor by using faster lenses. From the listing provided, I imagine that some wedding and dance photographers would be the most likely to consider adopting the A9 given the high frame rate and robust buffer if the current Sony lens selection suffices for their needs. Personally, one area where Sony can have a visible impact would be if the White House (and similar such offices) disallow press photographers from using dSLRs. As much as the dSLR remains my first choice (despite having more mirrorless cameras than dSLRs), the racket generated by many of the photographers shooting their dSLRs at the highest frame rate continuously for several seconds sometimes drown out and render inaudible some of the questions by the press. Requiring photographers to use cameras that can shoot quietly can restore some sanity to these events.
  2. Here is an indication of the hype I speak of: FRAME RATE Claim: 20fps, buffer for 241 RAW Reality: - 20fps possible only with electronic shutter and compressed RAW which is not lossless - if lossless uncompressed RAW is chosen along with the electronic shutter, highest speed is now down to 12fps - if lossless uncompressed RAW is chosen along with the mechanical shutter, highest speed is now down to 5fps BUFFER: Claim: 241 RAW Reality: - compressed not lossless RAW: 241 frames - uncompressed RAW: 128 frames
  3. I have been reading some of the discussions online regarding the A9 and while I appreciate the significance of some of the advances that Sony has made in the A9, I am stumped at the extent of hyperbole in many of the postings. Then again, this follows the fanciful and misleading claim that Sony made recently about being No. 2 in the full frame market ... and no longer to my surprise, the way Sony hypes the specifications of the A9. The lack of harmony and balance in the specs, body form and price of the A9 more than anything else pushes me in a different direction, that is, further away from Sony rather than closer to it. The A9 is clear evidence to me of the dissonance within Sony's camera and lens division for which I should stay away from.
  4. Indeed, the specs are impressive but I am also not tempted. Putting these features (minus the 20fps and 241 RAW buffer) plus a high-resolution sensor in an A7 Series III camera and priced at the current A7 level may however be tempting. One benefit from this A9 introduction is that Canon and Nikon will have to up their games considerably in any future 35mm "FF" mirrorless cameras they will be releasing. One side effect of that of course is a sharp increase in price. Touché!
  5. By the way, one area where the A9 could possibly excel given its ability to shoot silently at high frame frame with a robust buffer would be for covering political events, such as in the white house. The noise and din of multiple dSLRs shooting at full-tilt continuously for several seconds create such a racket that one could hardly sometimes hear what is being said in such events. Here, the Sony 70-200mm f2.8 would have enough range to easily cover the event. While the A9 would likely also be well suited for covering events where silence is golden (church events, quiet concerts, etc.), this function can already be covered by other cameras which can shoot silently and which do not need to have the frame rate and buffer of the A9.
  6. I am not sure if the 3rd party electronic adapters that allow Canon lenses to be adapted to the E-mount bodies like the A9 will work as well as native E-mount lenses to sufficiently enable the purpose for which the A9 was seemingly designed for ... sports photography. There are a good number of issues on this that afflicts amateur users. I skeptical whether a professional shooter whose bread and butter depends on his output would be willing to put up with these issues. Candidly, my initial impression of the A9 is that the form factor and some of its features (higher capacity battery, AF joystick, AF-on button, rear touchscreen, etc.) is a big improvement if these are implemented in the A7 Series III which are general purpose cameras. But the A9 form factor leaves it wanting for much more as a sports camera. One could use an A9 as a general purpose camera but the high-speed enabling specifications and the price are over the top overkill.
  7. Sony just released a 100-400mm f/4.5-5.6 zoom lens which is now available to use along with its 70-200mm f2.8. But these lenses are not the best choice among those who need a longer lens options ... specially as the A9 sensor is "only" 24.2mp
  8. The A9 form factor is ideal for the A7 series which is used mainly as a general purpose camera. But the A9 form factor leaves much to be desired as a sports camera. This dichotomy in features/specs and form factor may limit its acceptance among events and sports photographers. With a smaller shrinking market, a price increase is inevitable given the also-expected features/specs war among various brands.
  9. 35mm "full-frame" stacked 24mp CMOS sensor Blackout-Free Continuous Shooting up to 20fps for up to 241 RAW images Silent shooting at speeds up to 1/32,000 sec (no shutter noise; using electronic shutter on S and M Mode) 693 point focal plane phase detection AF points with 60 AF/AE tracking calculations per second PDAF area coverage is approximately 93% of the frame Ethernet port for file transfer Dual SD card slots (only one however supports the UHS-II cards) Extended battery life (2.2x the A7 battery capacity) 5-axis in-body image stabilization, up to 5-stops $4,500.00 Observations: - EVF is 0.78x magnification - EVF is now 3,686k dots (refresh of 120fps; refresh limited to 60fps when using auto or electronic shutter mode and in continuous shooting mode) - still has a mechanical and electronic shutter - has a dedicated AF joystick - has a dedicated AF-on button - has dedicated Flash PC Terminal - rear screen is a tilting touchscreen - 4K video available in full frame and in crop mode - with microphone and headphone jack
  10. It is true that Nikon has not made any wide Nikkor DX lenses. I would have wanted to see a smaller and more compact Nikkor 11mm f/2.8, 16mm f/1.8, and 24mm f/1.8. I currently use the Nikkor FX 20mm f/1.8 (357g) with the D500 (860g). The D500-20mmf/1.8 combo is not compact, but its 1,217g weight feels light due to the very good grip. The D500 features, ergonomics, camera controls, and image quality adds further to the attraction of this combo. As for UWA zoom, Nikon makes the 10-24mm f/3.5-4.5 (459g) but I do wish that Nikon would replace this with a better performing and better built successor. There are a number of good 3rd-party UWA DX lenses. The Tokina 11-16mm f/2.8 (550g) is a good performer as is its newer sibling, the Tokina 11-20mm f/2.8 (560g). The Sigma 8-16mm f/4.5-5.6 (555g) is supposed to be quite good. The Sigma 18-35mm f1.8 (811g) is excellent (but sometimes suffers from unreliable AF). I did wish that these lenses could be made lighter. The Sigma 18-35mm f/1.8 is particularly heavy.
  11. Saw this on my way out and thought of posting this quickly here. As earlier hinted, incomplete data presented in a skewed manner (intentionally) creating the wrong impression.
  12. This is in response to Alan's post. I always take a bit more time to read his post as there is often much nuggets that one can pry and picked up from Alan's post. This explains why I replied to the others first and now to Alan's post. I am far from being a sprightly lad myself and being quite near the age Alan mention, have to contend with the same limitations and challenges. This however has not stopped me from covering the Palm Sunday Mass, Maundy Thursday Mass, the Good Friday prayers, and later, the Easter Vigil Mass as the main photographer of these events in our Diocese Cathedral. I do these as a volunteer gratis et amore but the effort I expend on these events is like that by someone whose bread and butter depends on it. The weight of the gears I bring truly matter so I understand and appreciate what Alan writes of the challenges these presents. This is most specially so as I have to move discretely during the mass and prayer to anywhere from near the altar and lectern of the Cathedral to the choir loft in the 2nd floor at the rear of the Cathedral to properly document the event. With that preamble out of the way, the demands, challenges and difficulties of covering these event is the single biggest factor in my greatly appreciating what the Nikon D500 can do. While I have the option of having two Nikon D3s, a D700, two D8xx, and other options from Sony, Fuji, Olympus and Panasonic, these have all been relegated and put aside in the events that I have covered. To begin, the mirrorless cameras I have are simply not fast enough for me as still cameras to cover the events as these transpire. For dSLRs, the bulk and weight of carrying a pair of D3s ruled these out. The D700 is now outmatched by the D500 not only in its sensor but in the speed and performance I require to cover the event. The D8xx is simply much too slow compared to the D500 and would have limited me in ways that I would not want to be even if the D8xx could have added a bit more of image quality compared to the D500. The D500, matched with the Nikkor 16-80mm f/2.8/4.0 and the Nikkor 70-200mm f/4.0G VR gave me all that I needed in terms of speed, performance, image quality, features, and more ... than any of the Nikon, Fuji, Sony, Olympus and Panasonic gears I have ... at an acceptable balance in size and weight. For the benefit of Mike, I should perhaps mention that I test-used the Fuji X-T2 extensively for a day (early morning to late night) with various lenses as part of my preparation process in selecting what gears to use. While the X-T2 provides me with the weight savings and the image quality that I needed, it simply was not fast enough for the way I will need to work to cover these events even while it would be exemplary for slower more leisurely activities such as for travel. I will take a pause at this point. I need some time for prayers as well as to prepare the gears I will need for tonight. I will respond to the 2nd half of Alan's post at a later time.
  13. Considering that Nikon has essentially nudge, perhaps even pushed its buyers to go FX instead of DX, such a feat by Sony would be truly embarrassing to Nikon. But as numbers have a way of being manipulated and skewed in the way these are presented and delivered, I await greater clarity on what exactly is Sony claiming. The lack of details (perhaps even intended) contributes to these. Personally, I did not look at the rankings when I added Fuji, Sony, Olympus and Panasonic to my Nikon gears. I had even seriously considered adding the Pentax K-1 is likely the lowest in the totem pole in terms of sales. Eventually, it was the realization that I will likely not have the time to pursue the use for which I was planning to use the K-1 that made me decide not to get one.
  14. I can understand the confusion caused by the D7500 introduction. More than anything else, Nikon's removal of the 2nd CD slot caused this. Given the minimal cost the 2nd SD slot would have cost Nikon, it might have been better for Nikon to keep this as anything that can cause friction among the Nikon faithful ought to have been avoided. I do expect however that this confusion will be sorted out and once there is a greater clarity on the positioning of the D7500 as the D500's lesser sibling, the D7500 will be recognized for what it is ... a very capable camera upgrade that is priced reasonably, specially once the Christmas-season discounts roll in. Let's now go into the next point. I think its a given that Nikon will introduced a mirrorless camera. That will be both in DX (APS-C) and FX (35mm or 36mm x 24mm). Nikon will likely introduced mirrorless first in DX, then followed by a mirrorless FX. Given that this will be Nikon's early effort in making a mainstream mirrorless after the rather unconventional Nikon 1 Series, I expect Nikon to introduce mirrorless in the lower segment of its DX and FX product lines and priced these accordingly in the lower segment. Introducing the mirrorless DX and FX in the lower segment of the product line represents a lower risk than doing so at the mid-end or top-end as Nikon would just be getting its feet wet in mirrorless at this point. Doing so will also allow Nikon to respond and compete with the mirrorless cameras from Sony (FX, DX) and Fuji (DX). Nikon hopefully would also have learned its lesson well after its folly of pricing very high the Nikon 1 series products at its introduction. The pricing of the now-cancelled Nikon DL fixed-lens 1" camera series seem to bear this out. These are the premise why I think Nikon would introduce a mirrorless DX and FX at the lower end of the product line ... despite my wanting Nikon to introduce a high-end mirrorless DX and FX camera as soon as possible. I hope that my use of the term "D40-FX equivalent" mirrorless did not cause any confusion. I used this term to mean an entry-level FX camera that is mirrorless, and essentially supplanting the D6xx. My use of the term D40 was essentially to help the reader understand it as contrasted to the D90 and the D300 in DX parlance. To Nikon's delight perhaps, the Nikon D750 seems to be doing much better than the D6xx. That leaves a D6xx replacement pretty much in a limbo. A mirrorless successor to the D6xx would be a good slot. Such a camera would be better differentiated from the D750 in terms of price as well as capabilities. Nikon's skill at communicating with its followers deserves much to be desired. So much effort is spent on highlighting the enhanced and improved feature of the D7500 that one could get lost amidst reading all these and leave the reader wondering just where the product fits in within the product range, and in which direction Nikon is heading with this new product. It would have been simpler if Nikon said "We are restoring the D90-D300 pairing, and the D7500 is the D90-successor to the D500. Here are its updated features".
  15. This seems to be what Nikon is working on: FX Main - D5 - D700-successor (D500 body with 21mp or 24mp sensor) - D8xx-successor (D500 body with 36mp+ sensor) - D90-FX equivalent (currently D750) - D40-FX equivalent (mirrorless F-mount FX; also D6xx replacement) FX Others - D5x - Df successor DX Main - D500 - D90-successor (D7500) - D40-successor (mirrorless F-mount DX) DX Others: Holding the fort until the mirrorless DX are introduced - D5600 - D3400