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Whispers of a Nikon D3x have been floating around for some time. It was first rumored to be coming out in time for the Olympics, and was anticipated between March and June of this past year (Nikon D3x - impending announcement, 4/16/08). Sources suggest that there was a decision to delay that announcement. Some have suggested it was to give the D700 some legs and some suggest they wanted the excitement to be about the D90. Still others surmised that there were details they wanted to work out to ensure a timely delivery date after its announcement.

Regardless of the reason, official word has come out - the D3x has arrived in the form of NikonPro magazine with all the details and specs. Hit the jump for the specs, and more thoughts on what this means moving forward.


The first thing that struck me was the statement that leads off the third paragraph - "The D3x was designed with medium format photographic applications in mind." This statement is two-fold in its' intentions. 1) Medium format photographers should welcome a 24.5MP chip as a suitable replacement for their medium format cameras. But, the real reason, in my estimation, is this: 2) to set expectations in that arena, and not expect a 24.5MP edition of the D3.

Everyone was blown away by the insanely high ISO of the D3, and the D3x had to make some accommodations for the larger chip, in the form of a reduced ISO range. A stated range of 100-1600, with low/boost settings allowing for 50-6400 illustrate some of the likely technical limitations of a chip this size at the higher ISO ratings.

Here's the basic spec rundown:

• 24.5-megapixel shooting at up to 5fps; cropped 10-megapixel shooting at up to 7fps
• Custom-built Expeed 16-bit processing to handle detail on the 75MB image files
• ISO range of 100-1600 with a Lo1 (equivalent to ISO 50) with boosts up to ISO 6400
• Writes files to dual CF slots at 35MB/s
• Same lithium-ion battery as D3
• 51-point MultiCAM3500FX autofocus system
• Scene Recognition System
• 3-inch, 922,000-dot LCD
• 35.9mm x 24mm FX format sensor (If you can't think in metric, that's 1.4" x 0.94")
• Weather-resistant magnesium body
• Designed for medium-format shooting
• 12ms start-up time; 41ms shutter-release lag time
• USB 2.0, HDMI and AV-out jacks, with 10-pin terminal for GPS and other accessories
• World’s highest-res SLR with Live View at 922,000 dots in the LCD

One of the points missed and I think is of value (I talked about its benefits when reviewing the D700 here- Nikon D700 Report) is that you can use the new GP-1 GPS Unit with this (goes back to the D200 as well) to geo-tag your images.

Also worth noting is the compatibility with the D3 batteries. It seems Nikon is finally happy with their battery configuration, and isn't changing it again. Also unchanged (and would you expect any less?) is the lens mount. Yes, you can go back to any F-mount lens you'd like. On top of that- Nikon's EXPEED engine is designed to minimize the effects of color fringing for those lenses specifically. How's that for taking care of legacy customers? That's a definitive pro-consumer decision - enhancing the ability of lenses they've already sold which might otherwise cause someone to decide now is the time to upgrade a lens. Nice move Nikon.

What does this portend for Canon?

Well, this chip-size is larger, by about 3.5MP. Ok, so what. The pixel game is essentially over. What continues to be the battleground will be clarity of files (can you say Foveon technology anyone?), high-iso noise (and Nikon, with the D3, set the equivilent of Kodachrome 25 as the benchmark for future noise measurements) concerns. What the Wikipedia article notes (and a citation is indicated it's needed) is that a Kodachrome 25 slide on 35mm will hold detail equivilent of 25MP or more of image data. This is in line with information I gleened from meetings over a decade ago with people in the production department at National Geographic, who gave as a guidepost the maximum size of an RGB 8-bit file from a 35mm slide as being 60MB, or 20MP. Thus, at more than 20MP, in my estimation, size is no longer the issue. What's next? Video.

So, why no video on the D3x? We can guess a lot of reasons. My guess is that it's a fun pro-sumer capability that is getting tested in the D90, and when the D800 comes out, it will have video capabilities comparable to the 5D Mark II. As throughput on CF/SD cards gets better, and the price of cards plummets to a negligible amount, it might be a feature that a pro would want, but I am guessing that the jury is still out on that for the flagship editions of Canon and Nikon cameras. I for one am not bothered one iota at video missing from the D3x DSLR.

The one remaining question is one of price. The D3 was introduced at $4,999, and you can get one for around $4,100. Competitors the Sony A900 with a 24.6MP chip is the low-price point here, at $2,999. While Sony has made significant inroads in Europe (see our video interviews here and here from PhotoPlus on the A900), I surmise that they are coming in very low to get into the US market, because traditionally Sony is the premium brand premium priced product. Canon, on the other hand, has dropped down to under $7k, with demo and other used excellent-rated used systems at the $5,600 range. I think we'll know much more come Monday, when Nikon has scheduled announcements. We can only guess that that announcement will be the same as what the mailbag brought to doorsteps today in the form of the Nikon Pro magazine. We just await pricing and delivery dates. Nikon Rumors is reporting one UK retailer suggesting £5,500 as the price, which equates to $8,466 USD.

Look for a head-to-head like we did just a year ago(Nikon - a first look, 12/8/07) when we concluded that the D3 beat out the EOS 1Ds Mark III. So, it's time for a re-match in the ring.

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UPDATE:
The D3x has an estimated street price of $7,999 USD, and you can learn everything you need to know (atleast officially) here - Nikon D3x Official webpage.They also have a micro-site here. The delivery date is stated to be December of 2008, and it has been suggested that it will be before Christmas.

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In a bizarre turn of events, Canon USA has been taken out to the woodshed and given a whoopin' by Canon Inc in Japan because - get this - Vincent Laforet's Nocturne video showcasing the new Canon EOS 1D Mark IV was "too good" according to Fake Chuck Westfall, and Canon USA made Canon Inc look bad. Thus, Canon USA has directed Laforet to remove the video. (why we told Vincent Laforet) and on Laforet's blog he notes - Canon Has Requested....

Really?

Instead of Canon Inc saying "hey, good job Canon USA for making Canon look good", Canon Inc is mired in the antiquated notion of that by Canon USA doing so good, Canon Japan looks bad because either that don't have the talent to make the same type of content, or people in Japan are now looking bad because it looks like they're not doing their job.

Within minutes of these videos being formally pulled down from Laforet's sites, they popped up on YouTube and are still there. What does this accomplish because it makes Canon USA look bad?

Fake Chuck Westfall has nailed this - so much so that I wonder if FCW isn't actually the real CW! - that it's worth reading FCW's post. (On Canon Taking Down Nocturne).

It's remarkable that Canon - poised on the verge to trump the Nikon D3s because of the chip and video capabilities differences - have stumbled over their own potential for greatness and now look like bumbling fools. It's like the prima ballerina being honored for her grace, tripping on the way up to the stage to accept the award.

This camera finalizes the concept of game changer that began with the 5D (that Laforet kicked off with Reverie), much like, frankly, the Nikon D3s will be a game changer - Bill Frakes did an amazing video with - yes - ballerinas - in Austrailia, see here. Canon Inc needs to see all of its' subsidiaries as it's children, and give them all the same amount of love, instead, Canon USA is being treated like the bastard step-child from a weekend fling, relegated to the basement, with an I-don't-care-about-the-possibilities attitude. No doubt, on the eve of PhotoPlus Expo, the Nikon folks will be chuckling under their breath at this catastrophic faux pas.

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It's 1:05 pm, Saturday, the day after the new iPhone was released. Do you know where your iPhone is? Mine is ( as evidenced by the Find My Phone feature) at the White House, safe in my pocket. Today I have pool coverage duty, which, with the weather being what it is, gives me a chance to test out the new features of the iPhone.

As someone who HAD a 3G phone, and who had to revert back to a 2G for a few months, exactly because I lost the 3G, this is a very valuable feature. Since my cell phone is my lifeline to my clients, not having access to my email and client calls, even for a day, can be very costly.

Further, and for a very real reason, I am concerned about the data on my phone. Not to worry, I can wipe it remotely using this same screen.

When a business tool like this gets updated, and with critical features like this, upgrading (you can get the above features with the older 3G phone and the new 3.0 software) is so beneficial to the smooth operation of your business, that it's a no brainer.

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First there was Reverie from friend and colleague Vincent Laforet, which blew the doors off of video in the guise of a still camera. Then, like the wayward ingenue who makes her way to LA to become an actress, Laforet heads West to seek out visual stimulation in the form of motion pictures, yet he has a plan, and a laser-like focus, unlike the starry-eyed dream girl now waiting tables. Few people I can think of embody "motion pictures"- really, truly - like Vincent. His stories are absent dialog - yet compelling. Now, he presents Nocturne:

Nocturne from Vincent Laforet on Vimeo.

Some might say he's a night owl, and that's why he's working at night. I say that he's demoing the technology at a time when everyone criticizes a cameras failings - low light. It does help that he's a night owl too, of course. Put Vincent's creative mind to the test - low ambient light - no additive light, and then let lose a storyteller who is used to thinking in still images, and he makes every frame count - literally, and it shows in the final piece. Watch the piece once, and then watch it again for all the subtleties you missed the first time around. In fact, make sure you watch it in HD atleast once! (Full 1080p at SmugMug here). Vincent's blog has more details here - Lights Out, Camera, Action. Check it out, and watch the servers melt - this one's a game changer.

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The common refrain from photographers with a few years' experience lugging cameras with neck straps is how much their neck hurts. Sure, soft/plush/wide straps help, but the weight is still there, tugging at your neck.

Friend and colleague, Northern Virginia Photographer Mark Finkenstaedt, turned me on to these two cool solutions - the Cotton Carrier, and the Spider Pro carrier. The videos are pretty self-explanatory, and worth a watch:





For you RSS Feed readers, here's the SpiderPro video link, and here's the Cotton Carrier link.

In addition, you can check out their websites at CottonCarrier.com, and SpiderHolster.com. We hope to get a chance to put these through their paces in our shop in the future, and if we do, we'll get a video out on them.

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The FUTURE of all photographic uses is digital. No one doubts that print will be the antiquated backwater in just a few years. Learn from the mistakes of the publishing industry which gave away its content for free and then watched their print income evaporate, almost overnight. Learn from the publishing industry that ad/usage rates in the online arena had to be a sustainable figure on its' own, and not a parlor trick on a balance sheet.

Your images - your intellectual property - must be valued in both print and digital/online realms at a sustainable level. Just as photographers survived the shift from film to digital by establishing pricing models that were sustainable, and shunned the notion that clients attempted to foist upon us by saying "it's digital, so it's cheaper, just give me a jpeg." Now is the beginning of the time where the shift to digital will become even more pronounced, with the Wall Street Journal and New York Times beginning the shift to charging for online content, and the iPad setting the stage for the next evolution, just as the iPod/iTunes duo set the stage for the future of digital music.

Below is a great WIRED Magazine video on their iPad version:


No, go and read Paul Melchers piece - Share It - where he does an excellent job in advising you about avoiding a few of the pitfalls that are just down the road.

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We use a lot of different professional tools to deliver images to our clients, and among them are the ThinkTank line of rolling cases, both for air travel and for local location work. Over 5,000 of you watched our WHAT WE USE - Cases video where we showcase a number of cases, including our ThinkTank solutions. Over 115,000 of you watched our WHAT WE USE - Canon video where we use the ThinkTank Airport Security case, as well as over 102,000 of you watched our WHAT WE USE - Nikon video where we showcase our use of another ThinkTank Airport Security case. Just over a year ago, we did a review here at Photo Business News - ThinkTank Multimedia Bags - First Look. So, below (or at this link here for you RSS readers) is our latest in the line of ThinkTank reviews - where we discuss the Airport Security, Airport International, and newest - Logistics Manager, rolling cases. Enjoy!


If you'd like to pick up one of the cases, check these links:

• Airport Security
• Airport International
• Logistics Manager

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Converting your analog images to digital is a time-consuming process. From first-hand experience, I can tell you how much time and energy it takes. Over the past decade, I have migrated all of my best images from analog to digital, and that process has been completed. It was completed at a huge economic cost in terms of real dollars spent paying in-house people to do it, as well as the economic cost of not having them scanned earlier.

I can't imagine how I would have felt if my images had been damaged in a flood or fire, and not scanned. Several psychology resources we looked at in thinking about the importance of analog conversions for the non-pro photographer, turned up top-of-mind items to take when being evacuated from an unsafe area, items like wedding or family photo albums. On news broadcasts where families are combing through their destroyed homes, time and time again, we see them finding a family photo, or photo album, and being so grateful that it survived.

For the family happy-snapper, and the seasoned professional, the film archives need conversion, and ScanCafe is at the forefront of providing the best service in preserving your memories, or your pro archives.

I remember a business like Nancy Scans, about a decade ago, would charge $40+ for scans, and that was a deal. I compared the costs of staffing an in-house position against outsourcing it just a few years ago, and for medium format, outsourcing was the best solution, and in-house, I thought, was the best for 35mm, but I can report that that determination is questionable now that I look back at the end costs.

One of the things that the out-source service I was using, JaincoTech, was doing, was keywording and caption transfer from slide mount to metadata. ScanCafe does not do that, at least not on their website of pro scanning options. But here's the huge difference - I was paying $5 (and up) per scan there, and ScanCafe is doing scans at $0.24, which includes color correction, scratch/dust removal, and even minor damage to the image. Money Magazine said they were the “Best quality and cheapest…The best scanning service.” (article here). Don't have a negative? At $0.27 per print, they'll scan those too. How did I learn about this, and become more comfortable with them? My friend and colleague David Hume Kennerly is on their advisory board, and turned me on to them.

So, imagine you're a wedding photographer right now with 20 rolls of 35mm film from a wedding and you want them scanned for your archives or website. Assuming an average of 35 images per roll, for $168 you can have all of them scanned. Now, here's a great option for revenue generation. Why not contact ALL your past brides, and offer to deliver to them all the images you shot on CD from the film you never turned over, for, say, $300? Not only will you turn a tidy profit, but that gives you the entree to offer family portrait or children's/pets portraits to them during your conversation. Since the bride has likely ordered every print she'd ever hang around the house or give as a gift, there's little extra revenue from that film now.

Whether it's photo scanning, slide scanning, or negative scanning, ScanCafe looks to be a great solution. Further, for those extremely challenging black & white scanning issues, they can handle that too. I will be meeting with their CEO, Sam Allen, this week to ask him more about his service, so if you have questions, or they don't have a service you want, e-mail me or post in the comments below what you'd like to know, and I will put those questions to him.

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With over 200 new features, Aperture 3 is a remarkable (albeit long overdue) update to it's preceding version. Let's take a look at some of the highlights (and low-lights) of the new application.

In many ways, Aperture 3 ("A3") is playing catchup like Windows is constantly playing catchup with OS X, when it comes to Lightroom.

Aperture has a very nice feature with the importing of both RAW and JPEG files. The downside to importing RAW files is that it's so damn slow, regardless of Aperture or Lightroom, and that's not the applications' fault, it's the reality of all the data being moved around as well as preview building. A3 gives you the option of importing both RAW and JPEG when you ingest, but the challenge, to date, has been that so often when speed is critical, you just handle JPEGs, but then have to go back and manually marry-up the corresponding RAW files, or just start from scratch. Now, A3 allows you to re-ingest the RAW files later, and match them to the JPEG. That's pretty slick. Further (and this is really slick) if you've applied metadata/cropping/toning to the JPEGs, you can sync these between these now re-matched files. So, for those working on deadline with JPEGs, but still shooting RAW, you're in for a real treat.

How many times have you been without a much-needed recharging solution with your non-battery-swapable iPhone? For me, it is all to often, and I just can't risk losing a call because of a dead iPhone. So, friend and colleague, virginia corporate headshots photographer Mark Finkenstaedt had a solution. Mark did all the hard work doing this testing, and here are the results.

This battery, by ebay seller scr-boya (other listings here) lists the following features:

-Capacity:1900mAh
-100% Brand New
-Dimension:67mm X 62mm X 15mm
-Input:5V 0.8A
-Output: 5V 0.5A
-Charge time: About 4 hours
-Colour: Black only

At right is one of the four of mine that I won, on eBay, for $0.99 each, plus $8.99 shipping (each!) from China. So how long does it take for the battery charge to fully charge?



When the 10% battery warning indicator came on, the battery was installed, and below is the timeline for it to charge:
(click to enlarge)

At $10 per unit (including shipping, and I tried getting more, but no response), I can justify buying several (which I did) and now I have a backup in my car, camera bag, and two rotating on chargers in the office. The seller shipped both to Mark and I (from China) without any problems, so if you're looking for a great solution, this one one gem that has already saved me from a dead iPhone battery. There are other sellers on eBay with variations on this item, so you might find others that work just as well, but so far so good with this seller!

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Ever wonder how it's possible to digitize books by the thousands? Who's turning all those pages? Well, wonder no more, as here's the answer - a neat little contraption with two Canon EOS cameras, and a vacuum that automatically turns the page after a high resolution image is made of each page.

We recently had the opportunity to see the digitization in action - the same process that Google is using in their project. These are custom-made units, and the connectivity is amazing. The operator is simply on hand to trigger the page capture (buttons, on the left of the console, slightly visible in this image), and swap the books. Everything else is automated. With a room full of these devices, it's no wonder the process of digitizing all the worlds' books is almost half-way complete!

At left, note the black piece covering the right page. That is the vacuum, which has is about to turn the page, from right to left. Watching the vaccum in action, once it gets past the peak point, and begins to decend to the left, it releases the vaccum, and the page naturally falls down. The vaccum moves out of the line of sight of both Canon cameras, and both facing pages are captured, and then the vacuum moves back into position to make the next pair of images.

A closer look at the lens choice, shows a 24-70mm f2.8 L series lens being chosen. This would make sense, allowing the operator to make adjustments when books got larger, or smaller. The ports in use are clearly the shutter release, the USB, and the power adapter. In this closeup, the lens appears to be set at or near the 70mm mark, and the lens is also set to MF (manual focus).

This device allows for books of all ages (and even levels of fagility, if watching the delicate vaccum in action is any indication) to be digitized very quickly. New Scientist seems to be suggesting (Google sees infrared in plan to scan world's books, April 4, 2009) that scanning these books is taking too long, but that didn't look like a slow process to me, I was amazed at the speed of these machines. NPR wrote about Google's Patent application, in The Secret Of Google's Book Scanning Machine Revealed (4/30/09), but, as with all USPTO applications, the line illustrations leave a little to be desired.

Back in 2004, Information Today wrote - Google and Research Libraries Launch Massive Digitization Project , (12/20/04), about the process, and Googles plans, but to see it in action, is amazing. I was watching as books far and away out of copyright were digitized. This is in contrast to the lawsuit filed against Google, and, as reported in the Washington Post - Google Settles Publishers' Lawsuit Over Book Offerings (Washington Post, October 28, 2008), but which, as reported just last week (Google Battles For ‘Opt-Out’ Extension To Deadline In Book Lawsuit, 4/29/09),

"Internet search giant Google has requested before a judge a two month extension to a deadline for authors and publishers to opt out of a settlement to a legal battle over its intention to develop the world’s largest digital library, the Associated Free Press accounted. Google’s decision was prompted after a group of authors and their heirs asked the US District Court judge hearing the case to give a four month extension to the already effective May 5 deadline so that the “enormously complex” settlement could receive the time it was due for study."

So, the discourse continues - now with a few more visuals for you to contemplate.

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For some time now, FLYPMedia has been creating some really really cool interactivity, building it not only into existing content with publications you know, but also their own original content. So, it was with great anticipation that when I saw the new Sports Illustrated Tablet Demo, I had expectations that a FLYPMedia-like interaction was in the offing. Nope, not so fast. Something similar is in play for the advertisers, and the SI Swimsuit Edition, but Gizmodo sums this tablet idea up pretty well "...How is this different from a web page? Other than costing ten times as much to produce, that is...Never mind, I will tell you how: It’s a lot worse. It’s just pasting an old medium into a new one, painting the resulting clusterfuck with two layers of thick varnish."

Why Time Inc, who is slashing and burning staff these days, and seems to have forgotten that content is king, isn't embracing FLYP as they should is a big mystery.

Here's the SI experience on the tablet:


Here, however is the FLYPMedia experience of a Sports Illustrated story. First - it's in your browser (full screen), so no tablet needed. Second, it is FAR AND AWAY more interactive than the tablet. Browse around, and check them out. They've got some really amazing - and engaging - stories. The FLYP technology isn't, as Gizmodo put takes the tablet to task, a "... resulting clusterfuck with two layers of thick varnish." FLYP gets it right.

I am not alone in this. TechCrunch cautiously reviews the tablet here, saying "...it is not exactly a glorified CD-ROM, but adding more links would breathe some life into it", which would create a bigger problem because the tablet then becomes a Time Inc computer, which is a really really bad hardware business for them to get into. Instead, as TechCrunch cites the leader of the project to bring this to fruition, Josh Quittner, (who is also an editor at Time and the TechCrunch writers' former boss, hence maybe the tepid criticisms?), suggesting Quittner "thinks of it as an app. If people are willing to pay for apps on the iPhone, why not deliver magazines as apps also?" An app would be a better idea, and keep Time Inc out of the hardware business, letting the expected iTablet and whatever Microsoft tablet comes along, handle the hardware. TechCrunch ends their piece suggesting, of the name "Manhatten Project", that "Hail Mary might be a better name."

Further, Rob Haggart over at A Photo Editor (Time Inc’s “Manhattan Project” Is A Tablet Magazine, 12/2/09) thinks the tablet is a bit limiting too, however he points out the repeated highlighting of original/exclusive SI photography as a selling point of the tablet.

The concensus is, this Time Inc Tablet idea is like putting lipstick on a pig - it's still a pig. Go get yourself some real Kobe Beef, in the form of FLYPMedia - it's a far more satisfying experience, and doesn't cost you. As FLYP's tagline says, they're "more than a magazine", and you can see their own video about how FLYP is re-imagining the magazine experience here.

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Need to find a photographer for your assignment? The American Society of Media Photographers (ASMP) introduces its' Find A Photographer (FAP) iPhone application making amazingly easy to locate, from within the palm of your hand, photographers all over the country. The application is free, and instantly connects to a photographers' ASMP profile online, including their portfolio. Let's take a walk through the application:

Searching for "photographer" on the iPhone app store, "Find A Photographer" is currently the top result. Clicking on that, to learn more, and you see this:

Once downloaded (for free), the entry screen, with the map of the US attractively integrated with an image of an eye (courtesy of Hermann+Starke) and the ASMP logo is the first indication that this is a clean and professional application.

Following the splash screen above, you immediately see are presented with search options for location, specialty, and even by name, as below:

Clicking "New Search, connects, in real-time, to the ASMP database, searching for photographers that meet the criteria.

Here, the search results are returned. In this search, I am the fifth listing. I can't discern how the listing results order is determined. It's not alphabetical, and multiple searches for the same specialty returned the same results, so it would be interesting to learn how to optimize your listing to appear higher.

By clicking in the photographer's entry, their contact information, and profile comes up, scrollable in my case, since the profile is longer than one screen.

Clicking on the "View Portfolio" button at the bottom, and the images are loaded, again, in real-time, from the ASMP member directory online.

Once loaded into the app, you are able to browse/view images in the portfolio just as easily as you would browse images in your own photos application, and your captions are included below the image.

Once you close the portfolio, at the bottom of the photographer's listing, you can click "add to favorites", and here's the favorites listing.

If you're looking for someone that is a retail operation, or studio, and you need to actually go there, the application has a "map" feature, that shows you not only where you are (blue dot) but also the location and address of the photographer's business.

The application is seamless, easy to use, and I pray, will be a download that photo editors and art directors who get those late-night or on-the-road calls from their editors, will use to find a photographer when their rolodex is either empty or unavailable.

Hats off to ASMP for their thoughtful and well-designed application!

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