When the Nikon D7100 was launched my usual curiosity kicked in and made me wonder how it would improve on its older brother, the D7000. As I use the D7000 for my 360 panorama work I was interested in one thing only. Image quality. The increased resolution of the D7100 isn’t a critical point for me at all. The D7000 has plenty of pixels to play with. Did the D7100 offer me a better image that I can use to produce even better work.

On a busy morning at Nikon HQ I had the chance to make a quick comparison test between the D7000 and the D7100. As the D600 shares pretty much the same body as the other 2 cameras I thought it a good idea to try that too.

The lens used on the quick-n-dirty test was my old but trusted Nikon 10.5mm fisheye. This being a DX lens was a direct disadvantage for the D600 which would only be able to use the lens it the ‘crop’ mode that reduces its FX sensor area to match the DX format, consequently dropping the final image resolution.
There are a couple of quirks with the 10.5mm, one of them is the fact that it does actually produce a lot of chromatic aberration at the edges of the frame. Having 24mp I assumed the D7100 might accentuate this issue even more. I was wrong. All 3 cameras seems to have pretty much the same level of colour fringing going on. Thankfully, just about all RAW processing software quickly and accurately corrects this. One click in Lightroom and all the nasty fringes were eliminated.

Just about the only issue I have had with the D7000 is that I feel it quickly crushes the black tones in an image. Shadows can become very muddy, very quickly. The graduation of grey tones towards black can be very abrupt. In the samples below you’ll see a crop of the TV. The D7000 and D7100 have a noticeable difference in the shading towards the right of the TV screen. The D7100 holds onto the graduations longer before dropping to black. The D600 compared to the D7100, there isn’t a lot in it there. Both hold up very well.
There is also a noticeable difference in image noise between the D7000 and the other pair. I shot the samples at ISO500 as that’s the maximum I use for my 360 panoramas.

Image size: With the D7000 at 4928 x 3264px I have always had plenty of pixels to play with. The D7100 and the D600 have a hefty 6000 x 4000px but only the D7100 uses all of those pixels with the 10.5mm lens. The D600 drops to DX mode and provides 3936 x 2624px. Which on the face of it is still plenty.

So. If the D7000 is to retire, which would replace it?

If I go the D600 route I’d have a couple of options. I could stick with the DX crop and continue with the 10.5mm of I could source the Nikon 16mm fisheye. This is a very old lens though and just won’t hold up well on the digital cameras of today. I could look to using a 3rd party lens supplier. Sigma have a 15mm fisheye for FX sensors but the importer for Belgium isn’t exactly approachable when it comes to letting testers test their material and I’m rather loathed to buying one to find out it isn’t up to scratch.

If I take the D7100 route I can still use the Nikon 10.5mm which actually did surprise me with image quality on the larger sensor. No low-pass filter in the D7100 could potentially lead to sharper and crisper images. It could also lead to the moire issues that big scared so many buying it’s big cousin the D800E. Oddly, I spotted more moire issues in the D600 image than the D7100.
The D7100 is substantially cheaper than the entry level FX sensor D600 so that could sway the decision.

The image quality between the D600 and D7100 would be totally and utterly down to the wire. Both show me good details, both have noise under control both have a lot of latitude for post processing.

All in all, the D7000 has not been kicked into touch by it’s younger brother of big-sensor cousin. It can still proudly hold it’s own. Although there is a difference in image quality between the D7000 and the D7100 or D600 it is not as significant as I had expected.

The jury is still out on this one.

This shows the obvious difference in image size between the 3 cameras. I full size version of this image can be downloaded from here

Chromatic aberration comparison between all 3 cameras fitted with the Nikon 10.5mm

The right side of the TV screen shows noticeable difference between the subtle tones on the D7100 and D600 compared to the D7000

Here’s a high resolution image of the game between Port of Antwerp Giants and Okapi Aalstar that took place in the Antwerp Sportpaleis on the 6th April 2013.
With an attendance of 15500, the most popular Basketball game in Belgium to date.

If you were there, zoom in, have a scroll around and see if you can spot yourself  🙂

The image was stitched together from 66 individual images. Here is a link for mobile device viewing
For fullscreen desk/laptop viewing you can use this link


Dedolight is a name that has been known in the film and TV industry for some time now but lesser known in the stills photography world. I certainly hadn’t really heard of them or paid any attention until a couple of months ago when I first saw the Dedolights in action on the Luxillag stand at a trade show here in Belgium.

When I’ve used  constant lighting for photography lately I’ve only used daylight HMI lighting for flood lighting and that’s it. Usually very heavy uncontrollable light sources with huge power consumptions and on/off switches, no dimmer. It didn’t really cross my mind that there would be a viable ‘hot’ light system that would suit me.

The Dedolight DLH4 is the light system I tried out last week. A super compact 24v light system fully dim-able via the transformer. The dimmer is just the tip of the iceberg of the versatility the Dedolight system . There are multitude of accessories to help modify the light. Iris controls, lenses to focus the light, projectors, barn doors, shutter blades, gobos, etc, etc. The list goes on. The versatility opens up doors for photographers that have been used to using flash or softening everything with huge softboxes or diffusers. A controlled bundle of constant light can provide effects that are very hard to create with the lights I’d usually use.
Another advantage of working with constant light is that you see what you are going to get. Light setup is fast and with a camera setup on live view, you’re pretty much shooting exactly what you see.

Below are a few experiment images that I created with the Dedolights. Under those images are a couple of shots for a recent assignment.
I’ll have more images and a more in depth review and explanation of the Dedolight system very soon! Stay tuned for more info on the Dedolight system. Some of my colleagues have expressed interest so I’ll have more demo material very soon so people can have some real hands on testing themselves.

As for the Dedolight DLh4 itself. Here’s a 360 rotatable photo of the basic light unit.

This is shot with the optional shutter blade system added to the DLH4 unit. The line of light can be precisely controlled, literally by the millimetre. The light can be focused to have sharp edges or blurred to have a softer feel.

Below is with the shutter blades opened wider and blurred to create a softer effect.
Again, a very tight line of light used to just define the profile. One of the strong points of the Dedolight system is the light bundle has no spill. This is with the iris control ring fitted to the DLH4. A precise aperture can be set and again, focused to a tight sharp edge or blurred to a soft edge.One of the shots from a recent assignment, Shot with strong backlight I needed some light in the foreground to illuminate the label and the fruit. The shutter blades were fitted to one lamp to light the bottle, the other lamp had the iris control ring fitted to fill in the fruit.In this shot I wanted to accentuate the bottles but keep the warm feel of the distillery scene. Ambient light in the room was daylight. I exposed darker than I needed and then used the Dedolights to point out the details.

At the end of last summer I was asked by Fujifilm Belgium to cover a promotional event and provide images and studio packshots that could be used in the campaign to promote the Instax cameras with flyers, Point of sale, and packaging.
Of course I needed to use Fujifilm equipment for the event . I used the X-Pro1 and flashed where needed with the tiny EF-X20 flash units. One on the camera and one as wireless remote slave held by an assistant.
Although not the best conditions for the X-Pro1 and the tiny flashes, I was surprised how well it coped. Since the shoot the X-Pro1 firmware has been upgraded to make focussing easier in these types of conditions.

The idea of the event was to use the Instax Mini to shoot willing members of the public with the Fujifilm Airways flight crew. The instant photos were given to the people too. Many of course asked if we could mail the photos to them too which of course lead to the explanation that the Instax is an instant image, a one-off photo. That is the charm of it, there is no copy, no digital backup, no direct online share option. Instant photography is back ‘in’ and people in the crowd were loving rediscovering the instant photo idea.

Below are some images of the final flyers, packaging, and promotional material containing some of the images I shot.
Ikon Communications handled the layouts and production of the project, they too made these 3 ‘packshots’ of the final products.

And a few extra shots that were made and used for other parts of the campaign.

Probably one of the most familiar features of Antwerp is the pedestrian tunnel under the river Schelde that connects Antwerp city with the ‘Linkeroever’
The tunnel was started in 1931 and completed in 1933. The 572 metre long tunnel is 31.57 metres underground.

Accessed by wooden escalators or a lift that can carry 40 passengers at a time, the tunnel is part of the daily commute for many inhabitants of the city.

  • Mick - Do..do I hear water dripping?

    This is a bad place for an attack of claustrophobia.