Welcome to issue 59
The new D5 is a game-changer, and here’s why: when Usain Bolt wins the 100m final at this summer’s Olympics (you heard it here first...), it will be able to capture a 21MP image every 8/100th of a second for the entire duration of the race, and it will still have 80 shots left in its buffer capacity for Bolt’s lightning celebrations.
Just think about that for a second: think about the hair-splitting detail in every single one of those images, and then times that by
200 – and all that in the time it’s taken to read this sentence. The mind boggles. And what’s more, it will be able to do it in RAW. In the dark. I’ve got no idea how dark it would need to get before the D5’s maximum ISO of 3,280,000 wouldn’t be able to cope, but I’m willing to bet it would be pretty darned dark.
But, you cry, why does this matter? What difference does it make to those of us – myself included – who can only dream of owning a D5? It matters because technology trickles down. Just take the eagerly-anticipated D500: it boasts the same buffer capacity as the D5, albeit at ‘just’ ten frames per second. And the cost of such staggering power? Less than £2k/$2k – and probably closer to £1500 by the time the price settles down. You can find out more on page 105.
Elsewhere is this issue, we’ve also got a brand new series on flash photography, courtesy of our very own lighting guru Jason Parnell-Brookes; loads of great tips and techniques for shooting better portraits, landscapes and architecture; and a Pro Zone with a distinctly aeronautical theme. Enjoy!