I have always been fascinated with the Dia de los Meurtos (Day of the Dead) festival that takes place yearly in San Francisco. Up until recently, the scheduling hasn’t quite worked out for me to attend, but fortunately this year, the stars aligned and I was able to go, watch, and be a part of this very special yearly San Francisco tradition. Dia de los Meurtos is an Aztec tradition in which the dead were remembered and honored during the summer month of Miccailhuitontli. During the 16th century, the Spaniards arrived bringing with them the Christian holiday of All Souls Day. The Spanish priests then moved the Pagan Dia de los Meurtos festival from Summer to Fall to coincide with All Souls Day in hopes it would be transformed to a more acceptable Christian holiday. From this is born the modern day Dia de los Meurtos in which the dead is remembered and honored. You can read much more about this on the official page.
This year’s festival took place on November 2, as it traditionally supposed to, and has two main components: the parade and the altar site. The parade starts at 22nd and Bryant with the blessing ceremony by the Aztec dancers and travels in a rectangular path around The Mission District. The altars are typically setup in Garfield Park at 26th and Harrison. I stopped by early to Garfield Park to see the altars during a time when there would still be enough light and few enough people to photograph the altars. Later I ran into fellow friends and some of the famous San Francisco Bay Area street photographers William Lee, Dave Golden, Rob Clevenger, David Toshiyuki, and more and I ended up walking the beginning parts of the parade with William Lee before returning to Garfield Park. It was an amazing night and I hope for the opportunity to do it again next year. Below are the photos I captured. For those who are curious, I shot all the images without the use of flash relying more on my Nikon D3‘s high ISO capabilities to retain the mood and feel of the event. I had originally planned to bring my LED light panel, but at the last second left it in the car. I used a total of three prime lenses: the 35mm, 50mm AIS, and the 85mm. As it got darker, I relied more on my 50mm AIS and manual focus as it was too dark for autofocus to work. The maximum ISO I used for the night was ISO 6400. You can see all the rest of the photos in the SF Day of the Dead gallery.
Camera(s) used: Nikon D3
Lenses used: Nikon AF-S 35mm f/1.8G DX, Nikon 50mm f/1.2 AIS, and Nikon AF 85mm f/1.4D
Posted in 06. Event PhotographyTags: Dave Golden, David Toshiyuk, Day of the Dead, Dia de los Meurtos, Garfield Park, Nikon 50mm f/1.2 AIS, Nikon AF 85mm f/1.4D, Nikon AF-S 35mm f/1.8G DX, Nikon D3, Rob Clevenger, San Francisco, William Lee
I’m sure you all heard by now, but Canon has released two new lenses to their extraordinary EF line-up, but both of which have been scratching my head thinking…why? First off, Canon just introduced a new Luxury, or “L”, lenses, the Canon EF 24-70mm f/4L IS. Now if you remember, Canon already has a zoom lens that has the same f-stop with more range: the Canon EF 24-105mm f/4L IS USM, a fantastic lens. I know because I’ve owned one. So why in their right minds would Canon release a slower lens with shorter focal length? And to boot, it cost more than the 24-105mm, $1,499 versus $1,149.
Canon also released a prosumer lens, the Canon EF 35mm f/2 IS. For those who know me, I used to be totally against the 35mm lens as it’s not quite wide like the 24mm and doesn’t have quite the reach of the 50mm, but having used the Nikon 35mm for a number of weddings now, this is focal length is totally in my toolkit. Now what I’ve always found kinda strange was Canon’s decision to add image stabilization (IS) to a wide-angle prime lens. Given how small and light the 35mm is, it’s not very hard to hand-hold slow shutter speeds. Plus the f/2 f-stop is somewhat slow for a prime lens. And now with the high-ISO capable cameras, IS isn’t as a big deal unless you’re trying to hand-hold a heavy lens like 300mm and above.
The new Canon lens caps are really nice. Like really, really nice; probably one of the best new things from Canon. I’ve always hated the Canon lens caps because they were very difficult to remove with the lens hood on. Not a problem anymore now that they switched to the Nikon pinch style caps. Order them by the butt-load from B&H for $9.95 (make sure you get the right size).
We’re huge fans of the Fleet Week and the Blue Angels! We’re also equally huge fans of Star Wars. So what happens when you combine the two likes? You get the Golden Gate Garrison of the famous 501st Legion taking over part of San Francisco Airport (SFO) at the United Airlines area. Traditionally United Airlines does a “Friend and Family” event on the Sunday of Fleet Week open to United Airlines employees, their friends, and family members. The all day event has various food vendors, exotic car show, tours of the airplanes used by United (Boeing 777, Airbus A320, and more), a parade, tours of various private airplanes, and best of all an up-close view of the Blue Angels F/A-18 Hornets, Fat Albert, the F-22 Raptors, and more! So thanks to our friend Nam Nguyen (TK-3942), we were able to attend this year and photograph with our fellow photographer friend Dana Weise and her boyfriend.
As always the Stormtroopers and Darth Vader of Golden Gate Garrison of the 501st are always a sight to behold. Here’s a list of those that showed up:
| Trooper |
ID |
Troop type |
| Tami Ashford |
|
Handler |
| Nate Barsetti |
AR-80108 |
ARC Trooper Echo |
| Mark Berschens |
TC-5523 |
Clonetrooper DRAA |
| David Chin |
TB-3559 |
Biker Scout |
| Celina Chu |
TB-9481 |
Biker Scout |
| Jon Farmer |
CX-6834 |
Wiley |
| Jon Gantan |
TK-9802 |
Stormtrooper |
| Zandra Gantan |
|
Handler |
| Edward Karl |
TK-2304 |
Stormtrooper |
| Karen Katich |
BH / ID-1126 |
Zam and Imperial Officer |
| Joey Kwan |
CC-9512 |
Animated Commander Cody |
| Collin Lam |
TB-6568 |
Biker Scout |
| Steve Lieberman |
TD-8359 |
Sandtrooper |
| Karen Louie |
|
Photographer |
| Ricky Lui |
TR-1168 |
Royal Guard |
| Mike Morris |
TK-901 |
Stormtrooper |
| Chris Mortensen |
DZ-91377 |
Tusken Raider |
| Nam Nguyen |
TD / TK-3942 |
Heavy Weapons Trooper / Stormtrooper |
| Dan Norgan |
TD-4984 |
Sandtrooper |
| Daniel Owens |
TD-8362 |
Heavy Weapons Trooper |
| Brian Raabe |
TK-6287 |
Stormtrooper |
| Bobby Rosas |
TK-5467 |
Stormtrooper |
| Armand Tam |
TK-8683 |
Stormtrooper |
| Anthony Tse |
TD-3390 |
Sandtrooper |
| Marcus Wessels |
TD-4020 |
Sandtrooper |
You can find more photos as well as the high-resolution photos in our Events gallery.
Camera(s) used: Nikon D3 and Nikon D3X
Lenses used: Nikon AF-S 24-70mm f/2.8G ED and Nikon AF-S 70-200mm f/2.8G ED-IF
Location(s): San Francisco Airport (SFO), San Francisco, California
Posted in 06. Event PhotographyTags: 501st Legion, Blue Angels, Fleet Week, Golden Gate Garrison, Nikon AF-S 24-70mm f/2.8G ED, Nikon AF-S 70-200mm f/2.8G ED-IF VR, Nikon D3, Nikon D3x, San Francisco, SFO, United Airlines
Years from now, I’ll never forget where I was standing, at the very end of Van Ness Avenue near Gashouse Cove, as I and nearly a hundred others watched for the very last time the Space Shuttle Endeavour will ever fly again. It’s a once in a lifetime view, a space shuttle on top of a modified Boeing 747 flying over San Francisco landmarks such as the Golden Gate Bridge and Alcatraz. The weather was beautiful, the mood was a combination of amazement (not everyday you see a shuttle close up) and somber (the end of the space program) and lasted for maybe 20-minutes as the Boeing 747 did two circles around the Golden Gate Bridge and San Francisco.
Camera(s) used: Nikon D3X
Lenses used: Nikon AF-S 70-200mm f/2.8G ED-IF
Location(s): Van Ness Avenue, San Francisco, California
Some very exciting announcements by both Canon and Nikon this past week, the introducing of a new full-frame line of cameras, Canon’s 6D and Nikon’s D600. These two releases actually piqued my interests as a wedding photographer for a couple of reasons: 1) full-frame at a lower price point and 2) lack of high megapixels. As a wedding photographer, full-frame offers two very important functions: wide-angle lenses stay wide and lower noise. Also with less megapixels, this will generally achieve lower noise and faster processing (smaller files sizes). This is not to say all wedding photographers need, want, or like full-frame and less megapixels. Personally, I’ve rarely found the need for lots of megapixels, but I’m always at the need of higher ISO capabilities. Why? Bui Photos shoot for mood and feel. Our clients spend money to achieve a feel with accent lighting and our job is to capture that and not just wash it away with a big blast of flash.
So this buying guide post isn’t written so much of whether to choose Canon or Nikon, but rather if you should upgrade or get it at all.
Canon EOS 6D
Canon had released their 5D Mark III earlier this year as the replacement to the 5D Mark II. It was finally the camera the Mark II should have been and would have been more successful if it had been. The Mark III is a great camera that performs flawlessly. But for a low-light wedding photographer like me, is the Mark III really the best fit?
Let’s see how the 6D compares to the 5D Mark III:
| SLR Cameras |
Canon EOS 6D |
Canon EOS 5D Mark III |
| Year Introduced |
September 17, 2012 |
March 2, 2012 |
| Cost |
$2,099 |
$3,459 |
| Sensor Size |
36 x 24 mm |
36 x 24 mm |
| Viewfinder |
97%, 0.71x magnification |
100%, 0.71x magnification |
| Max Resolution |
5472 x 3648 |
5760 x 3840 |
| Megapixels |
20.2 |
22.3 |
| ISO rating |
100-25600 in 1, 1/2, 1/3 EV steps, with 50, 51600, and 102400 |
100-25600 in 1, 1/2, 1/3 EV steps, with 50, 51600, and 102400 |
| Auto Focus type |
11-point Auto-Focus sensor |
61-point Auto-Focus sensor |
| Metering |
63 zone iFCL metering system |
63 zone iFCL metering system |
| Crop Factor |
1.0 |
1.0 |
| Continuous Drive |
4.5 fps |
6 fps |
| Max Sync Speed, Max Shutter Speed |
1/180, 1/4000 |
1/200, 1/8000 |
| GPS |
Yes |
No |
| Wi-Fi |
Yes |
No |
| Storage Types |
SD/SDHC/SDXC |
Compact Flash Type I (UDMA compatible), SD/SDHC/SDXC |
| LCD |
3.0 inches |
3.2 inches |
| LCD Pixels |
1,040,000 |
1,040,000 |
| Video |
1920 x 1080 (29.97, 25, 23.976 fps fps), 1280 x 720 (59.94, 50 fps), 640 x 480 (25, 30 fps) |
1920 x 1080 (29.97, 25, 23.976 fps fps), 1280 x 720 (59.94, 50 fps), 640 x 480 (25, 30 fps) |
| Battery |
Lithium-Ion LP-E6 |
Lithium-Ion LP-E6 |
| Weight |
770 g (1.70 lb / 27.16oz) |
950 g (2.09 lb / 33.51oz) |
| Dimensions |
145 x 111 x 71 mm(5.71 x 4.37 x 2.8″) |
152 x 116 x 76 mm(5.98 x 4.57 x 2.99″) |
Should You Upgrade?
The biggest draw is certainly the price for a full-frame professional dSLR. What’s also cool about the 6D is the inclusion of GPS and Wi-Fi. The built-in GPS will mean all the photos will have geo-locations tagged and the built-in Wi-Fi will allow you to use iOS or Android devices to remotely control the 6D with Canon’s special software. This was first seen with the optional Wi-Fi add-on for the Canon EOS 1D-X.
If you already own a Mark III, you’d be crazy to trade it in for a 6D. While it might not be replacement worthy, the 6D would make a great backup body. With both bodies being full-frame, you don’t have to worry about having the wrong lens on the wrong camera.
What if you own a 5D Mark II? The choice is a bit easier, it is my opinion you should upgrade. The old 9-point autofocus system is enough to make me upgrade. Yes, it’s only two more focus points, but don’t forget this is a new autofocus system whereas the Mark II was using the same autofocus system as the 5D classic. Also the new exposure metering system is stellar from what I’ve seen. But you are sacrificing a few things: 1/8000 max shutter speed (which can make a difference if you tend to shoot fast lenses wide open in bright environments), a few MP (hardly noticeable), and a third of a stop in max sync speed (again, this can make a difference when shooting with flash).
If you own any other Canon dSLR (minus the flagship 1D-X), you should upgrade if it’s in your budget for full-frame and the high ISO capabilities. Otherwise, invest in lenses.
Nikon D600
When Nikon introduced the D800, it seemed to be more than a D700 replacement. The rumors were that the D800 introduces a whole new line to Nikon and not replace the D700. This seems to be true with the release of the D600. So let’s compare, D600 vs D700:
| SLR Cameras |
Nikon D600 |
Nikon D700 |
| Year Introduced |
September 13, 2012 |
July 1, 2008 |
| Cost |
$2,099 |
Discontinued |
| Sensor Size |
35.9 x 24 mm |
36 x 24 mm |
| Viewfinder |
100%, 0.7x magnification |
95%, 0.72x magnification |
| Max Resolution |
6016 x 4016 |
4256 x 2832 |
| Megapixels |
24.3 |
12.1 |
| ISO rating |
100 – 6400 in 1, 1/2 or 1/3 EV steps (50 – 25600 with boost) |
200 – 6400 in 1, 1/2 or 1/3 EV steps (100 – 25600 with boost) |
| Auto Focus type |
39-point Auto-Focus sensor |
51-point Auto-Focus sensor |
| Metering |
|
|
| Crop Factor |
1.0 |
1.0 |
| Continuous Drive |
5.5 fps |
5, 8 fps |
| Max Sync Speed, Max Shutter Speed |
1/200, 1/4000 |
1/320, 1/8000 |
| GPS |
Optional |
Optional |
| Wi-Fi |
Optional |
No |
| Storage Types |
SD/SDHC/SDXC x 2 slots |
Compact Flash Type I (UDMA compatible) |
| LCD |
3.0 inches |
3.0 inches |
| LCD Pixels |
921,000 |
922,000 |
| Video |
1920 x 1080 (30, 25, 24 fps), 1280 x 720 (60, 50, 30, 25 fps) |
None |
| Battery |
Lithium-Ion EN-EL15 |
Lithium-Ion EN-EL3e |
| Weight |
760 g (1.68 lb / 26.81oz) |
1074 g (2.37 lb / 37.88oz) |
| Dimensions |
141 x 113 x 82 mm(5.55 x 4.45 x 3.23″) |
147 x 123 x 77 mm(5.79 x 4.84 x 3.03″) |
Should You Upgrade?
Well, if you already bought the Nikon D800, you would be crazy to downgrade. But again, the D600 makes a lot of sense as a back-up body to the D800 when you don’t need all the megapixels. The D800 also has many of the more “pro” features that the D600 is lacking such as 1/8000 shutter speed.
What about people who have the D700? This is where I’m hard-pressed to just say: yes, you should upgrade. Why? Well, the D700 is still a great camera. With full-frame, high ISO capabilities, AND with 51 autofocus points compared to 39, in many ways the D700 can hold its own. But the D600 has something the D700 doesn’t: video. For those who want and need video, the choice should be clear. But if you’re like me, a stills-photographer, I would stay with the D700 for mainly the extra focus points. I know there will be others that disagree with how useful additional AF points are, but if you use lots of fast primes, you’ll know how crappy and inaccurate focus and recompose is.
For those who have been using the Nikon D7000 and ready to step it up, this is a nice upgrade. It doesn’t quite have the fast frames-per-second, but there is plenty to make up for that.
Conclusion
It’s clear that both Canon and Nikon had to sacrifice features to achieve a $2,000 full-frame camera and it’s interesting how both went about it. Canon for example gives users the really high ISO capabilities of 102k whereas Nikon is doing only 25k. But Nikon is throwing in the 39-point auto-focus, but Canon is keeping it with the 11-point. But Canon is upping the bar by including GPS and Wi-Fi, although single slot SD; Nikon has the dual-slot SD. Both have a max shutter speed of 1/4000, which is quite low for a pro camera. And for probably the first time ever, Canon didn’t design some new battery for the 6D, opting to keep it the same battery as the 5D Mark III. Bravo!
So is it worth upgrading? The answer depends on what you currently have and if what you currently have does what you need it to do. Both the Canon and Nikon offer killer new dSLRs to their existing lineup and you can’t really go wrong with either.
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