A week with the Nikon Z7

Nikon Z7 ReviewI’ve owned this camera for a week now, supplied with excellent customer care by www.fixationuk.com  While I’ve no claim to be a super user nor have any overly technical insight, I do have a week’s worth of getting to know this new camera in situations that are common to most landscape photographers working in our typical wet, windy conditions. (I’m also keen to point out that I’m not trying to demonstrate mastery nor make any statements about my own competence. I’m simply trying to share experience in the hope that someone else may gain from it.)  A little background perhaps. From the day I bought a Fuji X-Pro, I’d wished Nikon had made a Mirrorless camera . From the moment, I first heard about the current model, I’d assumed it would fit in and complement my D810. I’d seen it as a lightweight alternative. However during the time it took Nikon to produce the Z7, the world changed. I’m not convinced even they knew the route they were following and suspect that the camera ended up higher in their catalogue than was originally intended. Life with the Z7 has been a mixture of close to perfect and  irritatingly  bad. Image quality, build quality and ergonomics are excellent which to be honest is 95% of the camera. The devil however is, as they say, in the detail. As a tool it feels good in the hand, solid without being too heavy. Compact without being miniaturised. I suspect use is easier if already a Nikon user but each control feels exactly right and seem to follow a largely logical layout. This is a very, very fine camera indeed, my D810 is gathering dust and my old  Fuji X-T2 is not being missed in the slightest. Given that the image output is essentially much the same as a D850 the key decisions as users are three fold:

• Does the weight and size saving justify the size for me?

• Does it matter that the DSLR line now has a limited and defined life? Would I rather invest in technology that is developing rather than being abandoned?

• Does the EVF offer enough advantages to justify the pain of the camera purchase and then subsequent lens purchases.

Nikon z7 Review Virtual Horizon level

Nikon Z7 Review cable release

Nikon Z7 Review with 85mm f1.8 AF-S G Sycamore Leaves

For me, the answers were straightforward, this is getting closer and closer to an almost perfect camera. The first and most important step to take is to fully read the manuals especially those parts that relate to customising the functions attached to the various buttons. This at least allows some of the more glaring oddities to be corrected. ViewfinderThis EVF is perfect, I’ve no idea how it could be improved upon. It's like looking through a straight optical path but better. It’s so good, you just forget all about it. Even allowing for the fact that at heart Nikon is an optical company rather than an electronic one, there is some magic at work. ShutterI’m an advocate of quiet photography, working along, taking time and spending some quiet time in the place that you are making photographs. There are times when even the sound of the shutter and mirror of a DSLR can grate and spoil the moment. The Z7 is delightfully quiet and can even be used in silent mode.PlaybackI like to review images through the viewfinder. In standard form this means removing my left hand from supporting the camera and pressing the Play button. This is, in my opinion, much better achieved by configuring either of the Fn buttons to playback Review can then be achieved without moving the camera from the eye.During review, the + button can be used to zoom in on the image and the edges of the command pad used to navigate. Pressing the centre of the command pad immediately zooms in to 100% This would be much better if Nikon adopted the Fuji method. Use one command dial to zoom, one to scroll to next image. GridWhy not provide a choice of grid line arrangements? At least a thirds grid.LevelI wish Nikon would provide a more subtle level indicator that can be viewed while composing. The fighter pilot sight one is just about OK if you are working from a tripod but you need to be able to see the level and the full composition screen if you are handholding. Silly example of poor design and the tiny indicators at the edges of the D810 finder are much, much better. ConfigurationI’d like Nikon to take away as many restrictions as possible when assigning functions to buttons, let the user customise their camera. Fully customise menus and features also. Let me remove menu items completely. The iMenu is a good start but more could be done.Cards /Card SlotsI had two corrupt files on the first time one card was used. Since then nothing, it’s a worry but provided there is no repeat, I can live with it. I’ve been mulling over the whole aspect and am generally OK with a single card slot. I’m not clear about the technological hurdles but a direct Wi-Fi link to an external hard Disk like the WD MyNotebook would be a great alternative. It may be simply too demanding on battery power. FTZ AdapterYou wonder whether anyone in the Nikon design team actually use their cameras? If so do any of them every use an Arca plate? Every plate I own, even the smallest almost square one, fouls the camera if fitted to the FTZ, meaning you’d have to fit and remove it every time you wanted to fit or remove the adapter. I’ve ordered what I hope is an even tinier one, designed for compact cameras, I'll see if it works out. AdobeACR opens the lossless compressed files but doesn't seem to open uncompressed. I’ve always used the lossless compressed so not an issue here. There is  a lens profile included for the 24-7mm f4, as with the Fuji’s, the profile is applied automatically. It looks as though the Adobe support is in an interim version so I suspect import settings will evolve over time. . Long exposuresGiven that Nikon had time to learn from Fuji, I am surprised that the longest shutter speed they give us is 30s. It took nearly 6 years before Fuji finally gave in and added longer exposures in manual but now the wait begins again. If Nikon gave us 1/2/4 minutes, it would make a huge difference to normal use. If we could see those in manual and auto settings life would be better. One of the benefits I’ve appreciated over the years from mirrorless is being able to ‘see’ though heavy ND filters and I can confirm that it is possible to see well enough to compose and focus on at least easy subjects through a 10 stop filter. It’d be an improvement if there was a timer visible on the rear screen during B/T exposures. Interestingly LE NR is now switched off by default, first recent Nikon I’ve noticed that with. Use with 24mm F2.8 PC-e lensThis works like a dream, no fouling of controls and the focus peaking is life changing. Works like a dream. One can almost ‘see’ the inclined plane of focus and where vertical objects intersect it causing the peaking to show. No personal information on 45/85mm but presume same applies. Use with manual Focus lensesIn addition to my Tilt Shift lens, I also have a set of old AI Nikkors. We get two benefits with these. Firstly we have focus peaking which is especially useful with the large aperture lenses such as the 50mm f1.2. Secondly we get image stabilisation even with 40 yr old lenses. Nikon quote 3 stops with adapted lenses and while having no way of measuring, such a figure feels about right. That really is backwards compatibility. For anyone (shame on you) who hadn’t realised the joy of older Nikkors, ‘tis is definitely the time to investigate. There are some peaches (and a few lemons), more of that in the next instalment. Remote CableThis continues to irritate. The best I’ve managed so far is with a Meike Cable via Ebay that has a 90 degree plug so helps keep things bit more compact and also much less prone to being hit in passing.  I can’t believe Nikon offer this setup as a real life solution, it takes a high end product and makes it low rent. When combined with the PromediaGear L bracket it is functional but the end plate from the bracket has to be removed to attach or detach the cable. Currently PMG are the only vendors of a bracket that will work. They, RRS, Kirk, 3Lt and others have L brackets on the way but we’ll see if any of them work well or not. Battery LifeThe battery lasts less well than a D810/D850. I used to carry 5 spare batteries with the Fuji but I’ve not had to change more than one so far in a day with the Z7. This is to be expected as it is doing more work with the same battery. It’s still OK however, for me.AutofocusDespite the entire world telling photographers that they must use manual settings, I tend to use autofocus and Aperture priority whenever possible. The use of autofocus obviously requires the focus point to be placed exactly where you need it. The combination of the tiny spot focus point on the Z7 together with the ability to place it ANYWHERE in the frame makes this process perfect. FilesGiven that one of the major drivers in moving from Fuji was to produce files with which I felt more comfortable, the outcome has been completely successful. The files produced by the Z7 are beautiful and seem to be able to absorb any amount of manipulation without complaint. The level of detail is exceptional and ‘grain’ size and structure are both exactly to my taste.BandingAnother Nikon, another banding panic. I’m no expert here but it does ‘seem’ that, in some cases at least, those who are experiencing patterns are generally trying to extract impossible amounts of detail from impossibly deep shadows. Looking at some of the files circulating the writers need to ask whether the shadows might just be too dark and whether any other camera would do better. I’m a great believer in letting shadows be the dark places they are meant to be. In day to day use, where I’m trying to get exposure right, there are no nasty patterns of any sort. I’ve loved using the Z7 this week and am looking forward to getting to know it more depth over the coming months and years. I’m wishing for a healthy development through firmware updates but not holding my breath. Nikon will have to learn some new skills of listening to users and responding for that to happen. In the final part of this Blog, to be published next week, I’m going to share a few thoughts on lenses old and new that might be found on the front of this fine camera. For a variety of reasons the list is highly unlikely to mirror the established hierarchy as purveyed by DxO and the like.

Nikon Z7 First Impressions

I hate being an early adopter. I never buy stuff on the first day. I resent being an unpaid beta tester. I’d much rather wait until the teething problems have been sorted. Until now….My Nikon Z7 arrived this morning. Without wishing to rehash my leaving Fuji post, I’ve just sold all my Fuji kit and invested in Nikon’s brand new full frame mirrorless offering. I’m looking forward to getting to know this camera. There are already issues of course, as I realised there would be from the very outset. Jumping early always involves some pain, my intent is to get that pain out of the way as quickly as possible. It’s worth bearing a few of points in mind:

• I didn’t buy this camera to make my photographs better and I remain very pleased with the output of my D810 in every way. I’m not looking for dramatic obvious improvements.

• The initial rationale for this purchase was to replace the Fuji with another lightweight camera for longer walks, higher fells. The fact that Nikon have produced such a well specified camera opens the probability that it will replace rather than complement the D810.

• I’m a pony with a limited number of tricks. I’m not trying to review this camera, just share how it works for me. I’m not interested in superfast autofocusing, ultra high ISO use or overall speed of use. I work slowly and methodically and don't photography people, animals, stars, pets, sports, weddings etc.

First ImpressionsThis is a lovely camera that feels just right in the hand. Start up time is plenty quick enough for me. The EVF is the best I’ve seen and a step up even from the more than decent Fuji X series. Part of my reason for the move was to leave optical and use an EVF both to make viewing though ND filters easier and to include a Histogram in the viewfinder while composing. I also like being able to review through the viewfinder as it avoids the need to use glasses or a loupe. As a long term Nikon user, pretty much everything falls straight to hand and the interface is self explanatory by and large. The camera is small and light without stepping into insubstantial or ‘fine for small hands’ territory. There are so far, no hidden surprises and the cameras been a pleasure to use out in the field today. It feels small but solid and resilient. Image quality seems as one would expect and the 24-70mm lens seems to be very good though perhaps not as  outstanding as has been suggested. Much more remains to be seen on that front. Specific ObservationsUnboxingI’m unable to get excited over the whole ‘unboxing’ phenomenon however the departure from the Nikon Gold boxes is a shame. Slightly more of a shame is the extremely ‘low rent’ box and packaging. You may have just spent £4K on a camera but you wouldn’t know it from the boxes. Remote CableNikon have abandoned their proprietary 10 pin round (pro) connector for their own equally proprietary push in (consumer) rectangular plug. Although over priced, Nikon’s MC remotes have always been well made. They currently offer no replacement for the MC-36A and so any wish for a remote with a timer built in has to go to the aftermarket suppliers. Not a problem in itself but choice is restricted. This also has a knock on effect with the use of L brackets. I assume this is part of a planned move to leave wired connection behind and perhaps we’re not at fruition yet. I’d hoped that SnapBridge might provide a solution of sorts but it seems there is currently no way to set a timed exposure of say 2mins/3 min etc. We may of course see some aftermarket activity in this sector. I tried using SnapBridge as a remote this afternoon, but abandoned to re-visit the manual as it seems a long winded process. I tried it because the remote cable provision is awful. Even without an L bracket the straight plug cable sticks out a long way and is very prone to getting knocked. I can see the socket being equally prone to damage. With the L bracket, although the cable just about fits, it’s not a happy fit and again I can see damage resulting. There are two aftermarket remotes currently doing the rounds on Ebay etc which have right angle plugs. This is an infinitely better design except that the plugs bend the wrong way and make the cable foul the bracket. I’m currently working on modifying one to see if an improvement can be made. Most of the problem could have been avoided if they’d used a micro USB. This,  for me, is the only really disappointing aspect of the camera.L Bracket useSeeing Arca fit  L brackets in use so often by landscape photographers probably gives rise to a view that they are a commonly used accessory.This clearly isn’t the case or manufacturers might be more helpful in the placement of remote connections. I’m an L bracket addict and find it hard to work without one.Two problems emerge using one with the Z (as they did with the Fuji X-T1/2). The upright part of some brackets foul the cable access points for remotes. If you find a bracket that allows access, the exiting cable prevents the attachment of the L bracket to Arca fit tripod head in the portrait orientation. I solved this for the Fuji by using a ProMedia gear universal bracket which allows the vertical section to be moved away from the side of the camera by two sliding rails. This will also work for the Z. However for this workaround  solution to work really well requires a cable with a right angle connector. The L bracket I have used is the Promedia Gear PLX3xhttps://www.promediagear.com/PLX3x-L-Bracket-Universal-3-inch-Arca-Swiss-Type-L-Plate-Designed-for-DSLR-without-Grip-or-Short-Bodies_p_134.htmlThere are already well documented issues with L brackets and Arca plates fouling the tripod mount on the FTZ adapter, preventing fitting and removal. This PromediaGear L bracket does NOT impede the FTZ in any way. It also leaves the rear screen free to move. I’ve not come across any other L bracket that currently works. Battery LifeI suspect the days of getting an entire day’s shooting from one battery may have gone. I hope I’m being pessimistic but certainly the use of the EVF must draw more than the DSLR’s draw. Opinions seems mixed from the early hands on reports so fingers crossed. I shot on and off for four hours this afternoon and had plenty of juice left by the end. I am going to disable the rear monitor screen as I prefer using the viewfinder. This should also save battery power. Use with FTZWhile Nikon’s own online chat support weren’t able to help, this one item where a read of the instruction book is a good idea. There is a weight limit on using lenses with the FTZ. If using a lens that weighs over 1300g, you are advised to support the lens or use the tripod mount on the adapter if on tripod. If the lens has its own tripod mount that is first choice. The instructions suggest you add lens and adapter in two operations rather than leaving the adapter attached to the lens. I used the FTZ today with the 70-300mm AF-P and the 85mm f1.8 AF-s and both performed flawlessly. AF Fine TuneI’m still confused as to why a mirrorless camera still has an AF Fine tune setting since the focusing is managed right on the sensor. Suggestions gratefully received.Use with Ais lensesThe use with AIs lenses seems to work very well, I’d assumed that the camera would default straight to manual focus (I’d chosen to enable focus peaking) but it seems that I have to manually choose manual focus from the menu. I might be missing something there. Exposure is bang on and focusing very good. There’s no indication of aperture in the viewfinder however.  Viewfinder levelSo far I can't find a quick way to enable this. I’d hoped to tie it to one of the Fn buttons but that doesn’t seem to be an option. The old, more subtle and better level indications at the top, bottom and edges of the screen that were so useful on the D810 have gone. There now seems to be only the huge virtual horizon indicator that looks like a aircraft head up display. This is a pity in my opinion. Viewfinder RotationI’d hoped that having seen the Fuji implementation, that Nikon would have given us a rotating display for portrait orientation. Sadly not,  but one for the firmware Wishlist.Image size displayOne of the reasons I’d wanted an EVF was to achieve an exact viewfinder blackout surrounding different image aspect ratios. For the first time ever, I can now see 5:4 perfectly represented in the viewfinder. NEF FilesI was slightly surprised to see that Adobe ACR, recognised and opened the NFE files without a hitch. I was expecting to have to wait for an update. Another review suggested the lens profiles wasn't there but it shows on my version and is applied automatically rather than having to check the boxInitial perceptions after 8 hours of ownershipI really like this camera, and am looking forward to using it tomorrow. The files look great, the handling is excellent and it is a pleasure to use. The remote cable is less good and the lack of a subtle level indicator is a pity. I’d ask for that in a firmware update along with a rotation of the display in the viewfinder when in portrait mode. I’ll add to these early thoughts and correct any errors in a second instalment in a day or so.

New Fotospeed Papers

I recently received two boxes of paper sent by Fotospeed for me to try and then review. Given the vagaries of colour perception, lighting, compression and variations in monitors ( not to mention different printer outputs) , it seems pointless to waste time and space showing heavily compressed jpegs that concentrate on colour reproduction. I plan therefore to concentrate on other properties of these papers. I bought my first Nikon in the early 80’s. At the time it had a great deal to do with the fact that not only did Don McCullin use Nikon but that his life had been saved by his Nikon F when it was hit by a bullet that was meant for him.Our choices are often influenced by the famous and the lauded: these two papers are ‘signed’ by two of the giants of our world, Doug Chinnery and Joe Cornish. I use the term ‘signed’ to emphasise the fact that these papers are not merely ‘endorsed’ (which can mean anything or nothing) but have been designed in conjunction and are genuinely used by the named photographer. These two names are more than enough to cause serious consideration of these papers. If I have an anxiety about Fotospeed, it is that they make a bewildering array of papers through which one has to navigate in order to reach a choice. When I started printing in the early 80’s we simply picked a brand and then chose a gloss or Matt finish, possibly a silk if feeling giddy. Knowledge and technology now require more of us. The important factors which define these two papers are:

• Weight

• Surface texture

• Base colour /use or otherwise of OBA.

• Archival stability (including base material)

Both papers are made from Cotton giving grater archival stability; this is enhanced by both being acid free. Both are 305 gsm in weight so feeling like a thin card rather than a paper. Both are matt finish though one(The Etching)  is much more textured. Both papers have a less than 'Persil White' appearance with the OBA free Platinum Cotton being the less white of the two.Cotton Etching 305 is a 100% cotton Acid Free Fine Art paper with a white base. The surface has an etching texture which helps accentuate detail and gives a depth to you image. Cotton Etching 305 uses the latest coating technology resulting in a wide colour gamut and pin sharp detail. Platinum Cotton 305 is a 100% cotton, Acid & OBA free Fine Art paper with a smooth natural white surface. Platinum Cotton 305 use the latest coating technology resulting in a wide colour gamut and again, pin sharp detail. Comparing the two descriptions (from Fotospeed) we see that they are both heavyweight papers, both matt (though one smooth and one textured) and both acid free for stability. the remaining stand out difference is that the Platinum Cotton is OBA free. This latter is important for two reasons. Firstly the inclusion of OBA (Optical Brightening Agent) gives the paper a 'whiter than white' finish. this does however gradually fade with time. Most OBA free papers seem to have to sacrifice initial whiteness in order to achieve this stability but technology moves on and this new paper makes less of a sacrifice than most. Both papers are however less than the 'whitest white'. the image below shows a comparison between the two papers and a sheet of premium photocopy paper. However your monitor is set up, the comparison will still hold good in relative terms.In order, the whitest is the photocopy paper, followed by the Cotton Etching and finally the Platinum. Many users prefer the softer white of the mid point here others the warmth of the OBA free and others still demand the whitest white. Tastes change; 40 years ago I loved the almost green warmth of Agfa Portriga paper, today I tend to prefer my whites as white as possible.Part of the joy of a print is in looking at a tangible image and how the light reflects off it, another part however is to be able to hold the physical image in your hand. The weight and finish of both papers is truly superb, they both feel like premium offerings destined for large prints on gallery walls.  The pronounced texture of the Cotton Etching is reminiscent of my once favourite Hahnemuhle Etching. My current choice would however be the smoother finish of the Platinum Cotton. All personal taste of course but at some point I find myself looking at the texture rather than the image and for that reason prefer a less visually obvious finish.Personally I am delighted with the output on both papers in terms of colour and resolution of detail. I found that to my eye the smoother finish of the Platinum Cotton helped both the resolve more detail and also to better handle the subtle gradations in a monochrome  print.In the example below, I found this image, filled with closely packed mid tones, was better presented (to my eye) by the Platinum Cotton than it was by the Cotton Etching.As stated above, by the time this has been compressed and displayed on another monitor the accuracy will be lost but the comparison again holds good. Both the subtle tones and the fine detail of the leaves are better represented to my eye.Beauty is of course in the eye of the beholder and our concepts of beauty change over time. these are both beautiful papers of exceptional quality. My current preference is for a very bright white and a smooth (or often pearl) texture. When I used to print in the darkroom, my preferred finish was always that of an unglazed gloss paper. The strength of the Fotospeed range is that whatever one seeks in terms of a printer paper, they almost certainly provide it and of very high quality.Are these papers for you?If you are seeking acid free papers of high quality, yes.If you are looking for a neutral OBA free paper, yes.If you are looking for a high quality matt paper with a smooth or textured finish, yes.These papers were supplied free by Fotospeed but there was no pressure or suggestion that a positive review was expected. https://www.fotospeed.com/