![]() ![]() The D800 was tested with both the 10.5mm and 16mm lenses (in DX and FX mode, respectively), while the D4 was only tested with the 16mm lens (since attaching the 10.5mm DX lens would result in too small an image to be usable). The D7000 and D300, being DX cameras, were kitted with the 10.5mm fisheye. With the D800 in hand, I’ve been curious to quantify image quality vs other Nikon models when shooting panoramas, so I took my D300 and D800, my friend Paul and his 16-megapixel D7000, and a D4 very kindly lent for the occasion by Rajala Camera in Stockholm, to the Östasiatiska Museum, to shoot a suitably dark, contrasty scene in constant light. I chose the D800 over the 16-megapixel D4 despite the latter’s superlative high-ISO performance, because early reviews pointed to the D800’s flexibility - high resolution by default, with downsampling ably reducing noise in low-light situations. And thus I came to own the new 36-megapixel Nikon D800, used in conjunction with the Nikon 16mm full-frame fisheye lens for the same 6+2 panorama setup. Still, I wanted my next camera to muster significantly more than 12 million pixels, because panoramas are made to be zoomed into. Shooting people requires a certain minimum shutter speed, and with my fish-eye lenses performing optimally at an f-number of around 8 to 11, low-light situations force higher ISOs, where my D300 was being seriously outclassed by the newer Nikon D3s. ![]() In this panorama, for example, I wish the camera had given me more dynamic range to play with and reducing noise was a battle:īreakfast at a tea house in Kashgar in Kashgar I have been happy with the results, though since around 2010 I often felt I was pushing the limits of what the camera could do. I began making panoramas in 2008 with a Nikon D300 and the Nikon 10.5mm DX fisheye lens. The 6+2 setup is quite conventional, and a number of different camera-lens pairings cater to it. Tea house and evening market, Kashgar in Kashgar This way, people standing quite close to the camera can still be captured in their entirety, like so: 360-degree panoramas featuring people are the most engaging, though these are also more complicated to produce: Moving subjects can only be captured within a single image they do not take kindly to being stitched together across images.įor my panoramas, I’ve settled on shooting and stitching six photos around plus one each for the zenith and nadir. ![]()
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