Does it really matter....
Calm Light Photos
Registered Users Posts: 101 Major grins
Please don't laugh, but I need to know if anyone would use a Nikon D40 professionally if they used top notch lens with it? I'm new to the digital world but want to expand professionally and I'm at the point where I need a second camera and more lens. I'm sticking with Nikon (not that i have anything against Cannon - I think they're great, too) and I would love to keep my D40 since it's simple and light, but is this wishful thinking if I want to shoot portraits and weddings?
Please explain what a D200 (or D80 or D70 or whatever) can do that a D40 can't, especially if they use the same lens. Okay, I'm stupid about these things, but I'm willing to learn...just point me in the right direction. :dunno
Thank you!
Darlene
Please explain what a D200 (or D80 or D70 or whatever) can do that a D40 can't, especially if they use the same lens. Okay, I'm stupid about these things, but I'm willing to learn...just point me in the right direction. :dunno
Thank you!
Darlene
Darlene ~
http://www.calmlightphotos.com/ Smugmug Site
http://www.whimsicalyearsphotography.com/ Other Photography site
http://www.calmlightphotos.com/ Smugmug Site
http://www.whimsicalyearsphotography.com/ Other Photography site
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Comments
The advantage of the D200 over the D40 is there are more controls at the fingertips of the D200 and pro level cameras. The IQ difference is not that big of difference. Those with sharp eyes will tell, but I doubt your clients would, otherwise they would get their friends to shoot the weddings and portraits.
I just think you are better off getting glass over upgrading your camera unless it's in the budget.
The more advanced cameras tend to be more responsive, more accurate and more durable.
More responsiveness is measured in a faster frame rate, shorter lag and faster autofocus. (Autofocus speed is a function of both lens and camera.)
Accuracy can be measured in terms of autofocus accuracy as well as exposure accuracy.
Durability can be measured in terms of shutter cycles before failure (actuations) and basic body construction as well as electronics. The better bodies tend to have much better isolation from the electronic flash, for instance.
One potentially major benefit in the best Nikon bodies is a very short lag between the pre-flash and main flash of i-TTL. Some of the Nikon bodies have a long enough lag that some people blink before and during the main flash.
Moderator of the Cameras and Accessories forums
Ziggy already mentioned the robustness of it's performance and that may or may not be a factor. Unless you opt for the d90/d300 with a CMOS sensor, getting a d80/d200 with a 10MP CCD sensor may introduce more noise at high ISO, which is a factor for wedding shooters.
I would however agree that if money is a factor, I'd get a d40 and top notch lens vs a d300 with no glass or a cheap lens.
I guess the d700 would be an ideal wedding shooter body though.
Thank you, Jon, for your reply. Much appreciated! This does help. Which lens would you recommend? Currently I have what came with the D40 kit (18-55mm f3.5), plus I bought the 55-200 f4.5 VR. A friend of mine just bought the Sigma 30mm 1.4 and loves it. Which other low light lens would you recommend that is a zoom? And, pardon my ignorance, but what do you mean by this statement - "The IQ difference is not that big of a difference." Thanks!
http://www.calmlightphotos.com/ Smugmug Site
http://www.whimsicalyearsphotography.com/ Other Photography site
Thank you for your input, Ziggy. This all makes sense to me (except I'm not sure what i-TTL means
I've had the opportunity to hold a D200 but man are they heavy! What do you think of the D90? Right now my budget can't support an expensive new camera, but I can start to work on getting a couple of good lens (one at a time.) Will the lens I get for my D40 support an upgraded camera in the future? So much to learn, but Dgrin is a great wealth of information! Thank you!
http://www.calmlightphotos.com/ Smugmug Site
http://www.whimsicalyearsphotography.com/ Other Photography site
Thank you for your reply. I have a question, which will probably sound stupid, but I'm asking anyway...What is a CMOS sensor and a CCD sensor? Sorry, I'm still learning the language!
http://www.calmlightphotos.com/ Smugmug Site
http://www.whimsicalyearsphotography.com/ Other Photography site
As for the lens question. I shoot Canon but that shouldn't matter, but I primarily use just two lenses, a 17-55 f/2.8 IS and a 70-200 f/2.8L IS. In the Canon world, the IS is the same as VR in the Nikon world - it's a technology that helps to isolate/dampen/compensate for camera motion. I also have a number of other lenses as backup incase one of these fails during the event - it would not be a goodness to have to stop working because a lens failed.
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CCD
It used to be that CMOS required less energy (battery) to get the job done (capturing an image) and was therefore a cooler running technology. Cooler running sensors tend to generate less noise in the image.
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Thoughts on photographing a wedding, How to post a picture, AF Microadjustments?, Light Scoop
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IQ=image quality.
I would just echo what Scott suggested with lenses in regards to the nikon versions. The 70-200 2.8 would be a good lens.
The downside to the D40 is it doesn't have AF so the lens has to be a AFS, autofocus built in, inorder to work.
Nikon i-TTL is a technology that allows the flash to use the camera as a sensor for the flash. i-TTL implies that there will be a pre-flash to greatly improve the accuracy of the main/shooting flash. i-TTL also can use the distance information from appropriate lenses to determine the correct flash exposure to the subject. Distance is a much more accurate method than TTL alone.
Unfortunately, cameras such as the Nikon D40 have a longer lag time between the pre-flash and the main flash. This extra lag can allow some people to blink as a reaction to the pre-flash and the blink can accur when the main exposure takes place.
On the Nikon D40, and similar, it is often best to manually pre-flash and lock in the flash exposure, then take the actual exposure some moments afterwards. This slows down the process but circumvents the problem of lag.
Using the on-board flash for fill-light is a good idea. An external flash with more power can have faster recycle time than the on-board and those external flashes that allow an external power source can usually provide the fastest recycle times of all, so an external flash is usually better than the on-board flash. Plus an external flash isn't using your camera battery for power. That's usually a bery good thing.
The recycle times partly depend upon the amount of power the flash has to provide. Using a flash at close to maximum output always increases the recycle time. Situations that require longer distance and/or wider angles will usually use great amounts of flash energy.
You get used to the heavier camera when you see the advantages they provide.
The Nikon D90 is still pretty new so I'll reserve judgement until the formal reviews become available. It looks to be a pretty good camera and a significant upgrade from the D40/D40x/D60 series and a fair upgrade from the D80.
Nikon currently has 2 camera and lens formats; the DX format for smaller (crop) sensors and the FX format which is approximately the same size as 35mm film.
While DX lenses can work on the FX cameras with some restrictions and reservations, the FX lenses work great on both formats. Some people are of the opinion that you should only purchase the FX lenses to hedge against their ultimate purchase of an FX body.
I am a believer that the appropriate lenses for me are what works best for the current situation. As such I recommend lenses which work with your current situation and current equipment. I'll list my recommendations for you in a following post.
I honestly believe the Digital Grin (DGrin) is about the best combination of informed and experienced photographers you will ever find and that the moderators and users here are among the best on the Internet.
I am very happy to be a part of this "family" and I think the word is getting around just what a formidable resource we are.
Moderator of the Cameras and Accessories forums
J: Keep in mind that the D40 can't use all of the same lenses that are available to the others. It's restricted to AF-S lenses (which eliminates almost all of the fast wide, normal, and mid-telephoto primes).
H: Here's a recent list (not compiled by me)...
From Nikon:
WIDE-ANGLE
-AF 10.5mm f/2.8G ED . . . $ 600.00
-AF 14mm f/2.8D ED . . . $ 1,415.00
-AF 16mm F/2.8D . . . $ 770.00
-AF 20mm f/2.8D . . . $ 490.00
-AF 24mm f/2.8D . . . $ 310.00
-AF 28mm f/2.8D . . . $ 235.00
-AF 35mm f/2.0D . . . $ 320.00
STANDARD
-AF 50mm f/1.4D . . . $ 290.00
-AF 50mm f/1.8D . . . $ 110.00
TELEPHOTO
-AF 85mm f/1.4D IF . . . $ 1,025.00
-AF 85mm f/1.8D . . . $ 400.00
-AF 105mm f/2D . . . $ 925.00
-AF 135mm f/2D . . . $ 1,070.00
-AF 180mm f/2.8D IF-ED . . . $ 750.00
AF-S VR 200mm f/2G IF-ED . . . $ 4000
SUPER TELEPHOTO
AF-S 300mm f/2.8G IF-ED VR . . . $ 4500
AF-S 300mm f/4D IF-ED . . . $ 1125
AF-S 400mm f/2.8G ED VR . . . $ 8500
AF-S 500mm f/4G ED VR . . . $ 7900
AF-S 600mm f/4G ED VR 9500
WIDE ANGLE ZOOM
AF-S DX 12-24mm f/4G IF-ED . . . $ 915
AF-S 14-24mm f/2.8G ED . . . $ 1550
AF-S 17-25mm f/2.8D IF-ED . . . $ 1500
STANDARD ZOOM
AF-S DX 16-85mm f/3.5-5.6G ED VR . . . $ 585
AF-S DX 17-55mm f/2.8G IF-ED . . . $ 1200
AF-S DX 18-55mm f/3.5-5.6G VR . . . $ 200
AF-S DX 18-55mm f/3.5-5.6G ED II . . . $ 120
AF-S DX 18-70mm f/3.5-5.6G IF-ED . . . $ 350
AF-S DX 18-135mm f/3.5-5.6G IF-ED . . . $ 330
AF-S DX 18-200mm f/3.5-5.6G IF-ED VR . . . $ 680
AF-S 24-70 f/2.8G ED . . . $ 1700
AF-S 24-85 f/2.8-4D IF . . . $ 565
AF-S 24-120mm f/3.5-5.6G IF-ED VR . . . $ 510
AF-S 28-70mm f/2.8D IF-ED . . . $ 1475
HIGH POWER ZOOM
AF-S DX 55-200mm f/4-5.6G ED . . . $ 170
AF-S DX 55-200mm f/4-5.6G IF-ED VR . . . $ 220
AF-S 70-200mm f/2.8G IF-ED VR . . . $ 1625
AF-S 70-300mm f/4.5-5.6G IF-ED VR . . . $ 480
-AF 70-300mm f/4-5.6G . . . $ 135
-AF 80-200mm f/2.8D ED . . . $ 915
-AF 80-400mm f/4.5-5.6D ED VR . . . $ 1430
AF-S 200-400mm f/4G IF-ED VR . . . $ 5200
CLOSE-UP
-AF Micro 60mm f/2.8D . . . $ 400
AF-S Micro 60mm f/2.8G ED . . . $ 480
AF-S Micro 105mm f/2.8G IF-ED VR . . . $ 760
-AF Micro 200mm f4D IF-ED . . . $ 1340
Sigma:
4.5mm f/2,8 EX DC HSM . . . $900
10mm f/2,8 EX DC HSM . . . $650
10-20mm f/4-5.6 EX DC HSM . . . $570
12-24mm f/4.5-5.6 EX DG HSM . . . 780
14mm f/2.8 EX . . . ???
17-35mm f/2.8-4.0 EX DG . . . $400 (Adorama)
17-70mm f/2.8-4.5 DC Macro HSM . . . $400
18-50mm f/3.5-5.6 DC HSM . . . $140
18-50mm f/2.8 EX DC Macro HSM . . . $450
18-125mm f/3.8-5.6 DC OS HSM . . . $400
18-200mm f/3.5-6.3 DC OS . . . $500
30mm f/1.4 EX DC HSM . . . $490
50mm f/1.4 EX DG HSM . . . $500
50-150mm f/2.8 EX DC HSM . . . $750
50-500mm f/4.0-6.3 EX DG . . . $1160
55-200mm f/4-5.6 DC HSM . . . $180
70-200mm f/2.8 EX DG Macro . . . $800
70-300mm f/4,0-5,6 DG Macro . . . $140
70-300mm f/4,0-5,6 DG APO Macro . . . $220
80-200mm f/2.8 EX DG Macro . . . ???
80-400mm f/4-5.6 EX OS . . . $1272 (Amazon)
100-300mm f/4.0 EX DG . . . $1200
120-300mm f/2.8 EX DG . . . $3000
120-400mm f/4.5-5.6 DG OS APO HSM . . . $850
150mm f/2.8 EX DG Macro . . . $670
150-500mm f5-6.3 DG OS APO HSM . . . $980
180mm f/3.5 EX DG Macro . . . $900
300mm f/2.8 EX DG APO HSM . . . $3000
300-800mm f/5.6 EX DG APO . . . $8000
500mm f/4.5 EX DG HSM APO . . . $4670
800mm f/5.6 EX DG APO . . . $7400
Tamron:
17-50mm f/2.8 XR Di II . . . $420
18-200mm f/3.5-6.3 XR Di-II . . . $280
18-250mm f/3.5-6.3 Di II . . . $460
28-75mm f/2.8 XR Di LD . . . $350
28-300mm f/3.5-6.3 XR Di VC . . . $600
70-200mm f/2.8 Di LD MACRO . . . $700
70-300mm f/4-5.6 Di LD Macro . . . $180
J&H
Based on my experiences, getting a pro-level camera will benefit you in the long run. After shooting with Nikon and Canon pro gear, the benefits of having more options and more controls at the fingertips saves time.
One less observed difference is the mode settings. On consumer cameras, the modes are set with a dial that can be EASILY switched out of. On pro cameras, you have to press a button and a dial to switch, so you are not going to be shooting along in a mode by accident. You may forget to change modes, but you are not going to be shooting in a mode by accident.
If it were me, I would not upgrade to a D90. I think you would be better off getting lenses or getting a D200/D300. If you had those cameras and wanted a great backup, the D90 would be great. You are going to need two cameras eventually, but I think one of them needs to be pro-level.
My recommendations are based on you being a pro photographer, not a weekend warrior.
OK, for a Nikon DX camera and wedding photography application I recommend:
NIKKOR 17-55mm, f/2.8G AF-S DX IF-ED for the general purpose standard zoom. It's a bit pricey but still the best option. If it's too much then a Tamron 17-50mm, f/2.8 XR Di II is still a pretty good alternative and I believe it will autofocus on the D40.
NIKKOR 70-200mm, f/2.8G AF-S VR IF-ED for the tele-zoom. This a great lens to use when you need to compress space or there is too much action in too many different places at the same time. Some receptions really beg for this lens. A viable alternative is the NIKKOR 80-200mm, f/2.8D ED although I believe you lose autofocus on the D40 but I think you retain focus confirmation. The 80-200mm would be much better on the better Nikon cameras which have the autofocus screw drive. The Sigma APO 70-200mm, F2.8 EX DG Macro HSM is another pretty good choice and I think will autofocus on the D40.
Add the NIKKOR 50mm, f/1.8D for during the ceremony when you have to use ambient light.
There you have, in three lenses, a good basic wedding kit, suitable for most circumstances. Later you might add one of the super-wide lenses in the 10-20mm-ish range, but it's a pretty special purpose lens you can often do without.
Add a couple of speedlights and some light modifiers and you are good to go making beautiful images.
Moderator of the Cameras and Accessories forums
Scott, I've read your Thoughts on wedding photography and Wow it's a bit intimidating! Very thorough, which is good. thanks!
http://www.calmlightphotos.com/ Smugmug Site
http://www.whimsicalyearsphotography.com/ Other Photography site
Thank you, Jon. I am leaning towards the D300, but right now I don't have that kind of money. Everyone here has given me lots of information and much to ponder over, and admittedly, much of this is over my head. I guess my next step is figuring out which lens would go with my D40 AND eventually work with a pro level camera. I'd also love to find a mentor who lived near me who could teach me all the technical stuff that I obviously have no clue about. I should have gone to photography school!!
http://www.calmlightphotos.com/ Smugmug Site
http://www.whimsicalyearsphotography.com/ Other Photography site
and Ziggy
I thought the 50mm f/1.8 only worked with AF-C cameras (D70+, not D40/50) because it doesn't have the AF-S workings in it...
"Your decisions on whether to buy, when to buy and what to buy should depend on careful consideration of your needs primarily, with a little of your wants thrown in for enjoyment, After all photography is a hobby, even for pros."
~Herbert Keppler
True, you lose autofocus on the D40 but I think you maintain manual focus confirmation. For during the ceremony shots it would probably be OK. I would rather have AF to be sure but the 50mm, f1.8 is still of value. The new Sigma 50mm EX DG HSM is, I think, the only alternative that does provide AF on the D40/D40x/D60 bodies.
Moderator of the Cameras and Accessories forums
My Photos
Thoughts on photographing a wedding, How to post a picture, AF Microadjustments?, Light Scoop
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Just a point of clarification: The 50 1.8 does autofocus with the D50
I think that would be a good route to go. You can shoot and make great images with the D40. Whatever you do, DO NOT shoot or handle a D200/D300 until you can afford one.
Another thing to consider for down the road is a used D700 if you find yourself getting plenty of jobs in low light situations. After using the D300 and D700, the D700 is worth the price difference.
Don't sweat the photo school. Get books from the library, bookstore and learn how aperture, shutterspeed, and ISO work together. Play around in A and S mode and see how adjusting one changes the other.