So after looking through all of Sony’s offerings, I decided to look at “The Big 2” also known as Canon & Nikon.
I’ve seen plenty of images created with these cameras, and have had opportunities to play with various models of cameras from them over the years. I’ve often found that I wasn’t that thrilled with how a Canon camera felt in my hands until I got into their higher end camera bodies. Nikon camera bodies have always felt comfortable, regardless of price. After years of working with a vertical grip, I knew I was going to add one out of the gate as I find it balances the camera body better in my hands, in addition to the better battery setup.
On the lens front, I knew they would both stack up well to each other. Canon has some advantages of slightly faster glass, but to my eye, I kept favoring the overall look Nikon images.
Canon is doing amazing things for video. Video for me is something I am beginning to get a tiny bit of interest for, but first and foremost, I wanted a top notch still camera. They have done a lot to refine a well balanced package, especially for those who are big on video.
That’s where the synergy of the camera body and lens started to come into play. There was a not so subtle difference in shadow detail in favor of Nikon. This is really where my resolution junkie side was won over to Camp Yellow & Black.
The extra shadow detail Nikon offers, which is about a stop, is huge in my photographic world. It meant that either camera I was looking at was going to be comparing, hopefully favorably, to my favorite medium and large format cameras.
When I looked at things from an operational standpoint, the lack of an aperture ring on the lens wasn’t an issue. I know some people in the Nikon camp complain at length about this having disappeared from the “G” series lenses. I’ve never had an aperture ring on a lens for 35mm style cameras I own, so it wasn’t an operational issue for me. In fact, I find it too easy to bump when it is on the lens, as opposed to a dial on the camera body.
Operationally, when looking at the camera body specifically, Nikon seemed to be more in line with what I was used to in Minolta/Sony. Ultimately, I had settled on the Nikon D750 as the camera I was going to go with. Then I reviewed the tech specs and discovered the fatal flaw in the plan. No PC Sync socket.
Now why was this the fatal flaw in the plan? Why not just get a radio control system for your strobes, an adapter, etc?
I’m just starting to look into the radio control options. Working tethered to a strobe by a sync cord hasn’t been an issue to me with any camera I work with. I don’t want to take a chance with adapters breaking down or not functioning correctly either. If I spent slightly more to get the socket and a better overall camera, then I could delay the radio purchase.
So the PC Sync socket became the big deciding factor to purchasing the Nikon D810. The bump to 36 megapixels was a value added feature.