Wel­come to is­sue 59

NPhoto - - News - Paul Gro­gan, Editor paul.gro­gan@fu­turenet.com

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!

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