On paper, the Nikon D850 promises much, it’s certainly a camera that I think Nikon have aimed to disrupt the whole market with by seemingly packing in as much as it possibly can. There are one or two other manufacturers out there lately who have fallen into the rather questionable habit of trying to pass off ageing tech in a ‘new’ body but with the D850 Nikon feels like they are going all out to deliver a dynamite combination of speed, resolution and flexibility. Amongst the questions I will attempt to answer here is does that spec sheet deliver real world improved outcomes over what has come before, and how?
I’m always looking for ways to improve or evolve my photography. As much as the application of photographic technique very much depends on the individual, their interpretation and level of creativity, it is unfair to think all cameras are equal and offer the same opportunities. The D500 provides some complimentary options to a full-frame landscape kit that I wasn’t expecting and it’s now been in my hands for the last 24 hours…
You’d have to be blind as to what has happened to the UK in the last couple of weeks or so. If the news of Britain’s seeming imminent departure from the EU doesn’t bother you one way or other then what has happened to Sterling and the Japanese Yen recently might.
We’d all like every photography discussion to be about art and personal interpretation (I’ll do another blog post soon on this subject to balance things up) but you can’t get around the fact that without cameras there is simply is no photography at all (unless you’re someone like Paul Kenny!) so to conveniently ignore this fact seems both futile and a bit silly. In fact you’d have to be blind to the equipment allegiances that we form as photographers, I maintain that my own quest is that of product and image quality over any particular brand – it just so happens to be that Nikon seem to provide almost everything I need in spades for landscape photography.
New Year, and the first magazine feature of 2016 in Amateur Photographer Magazine on 16th January…
As I look outside at an autumnal rain shower hammering at my window this morning, I’m reflecting on the fact that somehow I managed to create something in each month during the summer that I was actually happy with. Looking back now I’m not even sure how I managed that given that I set out with purpose to take some images on no more than three or four occasions if that. However after a hopeful weather forecast I decided to get myself up to the Peak District to visit some views while the heather was in bloom and what I got was an additional unexpected treat at sunrise. I timed my arrival almost a little too optimistically and pulled my car over at the side of the road somewhere on the hills above Hathersage. The light was pretty spectacular by anyone’s account, the low layers of mist giving way to a full on pink and purple sunrise. The problem with the Peak District (or should I say the value of the Peak District?) is that it can be pretty featureless across certain views, a landscape stripped of most defining objects, a tundra with a handful of trees dotted around at best.
Although late spring was finished off beautifully with a trip to the Brecon Beacons, June fell somewhat flat for me with the conditions somehow sapping my enthusiasm. This is often the case for many landscape photographers in the summer months of course and even a trip to the Kent coast did little to lift my mood. Inevitably I find landscape photography is linked to my general state of mind and ever earlier starts become wearing ensuring it all feels a lot less enticing.
Those of you who follow this blog and my various social media posts will know that I declared 2015 to be my year of print. I was very serious about this objective – I’ve already completed a significant slip-cased A3 sized general portfolio of work with a fabulous high-end product from Hartnack & Co (see the mini-series which STARTS HERE) and I always had in mind to produce something a little more intimate to contain a project series like Backwater.