The photos showed us the wonderful color reproduction and sharp image the D500 can achieve. It was only when we changed lenses that the muscle memory we had built up using the 24-70 made the other lenses feel wrong. Its zoom and focus ring are reversed from the other two lenses. It was at this time we noticed an interesting design of the 24-70 F2.8. Shooting in the downtown area of Reno, we even captured a few photos of our cars. The next shooting situation was the next morning at dawn. Unless it's being used stylistically, it's nothing but a noisy mess. Not only is it not usable, but we wonder why it would even be offered. We tested out the extended ISO range, but because the ISO is far greater than 3200, it looked bad. However, use any ISO above 3200 at your own risk we can't see it looking professional, no matter how much noise reduction you add. The range between 8 could use noise reduction and still look good. It didn't start to become unpleasant until we hit ISO 3200. We later tested this in the studio and found that we started seeing noise at ISO 800, but the noise felt less like digital noise and more like film grain. Choosing to up the ISO to gain proper exposure, we didn't shy away from pushing it past where most cameras would start to get noisey. We were really surprised how little noise we got. We tried out the 24-70 f/2.8 first because of the larger aperture needed for low light shooting. Not only was the parking lot full of old cars, a slow cruise made its way through as well. Our first shooting situation was in the parking lot of the Atlantis casino just after dusk. With fresh batteries and freshly formatted SD cards, we were off to see all of the beautiful cars and test out what the D500 could do. We knew we would have lots of different lighting situations to shoot in, from the magical light of dawn to under the stars with only headlights and street lights for illumination. We set out on a four day adventure to Reno, Nevada, for the annual city wide classic car show called Hot August Nights. Lastly, the AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR offers a happy medium between the other two. Then, we opened up the AF-S NIKKOR 24-120mm f/4G ED VR, another externally zooming lens but a bit slower than the 24-70. We like the large aperture across the full throw of the lens. First we opened up the AF-S NIKKOR 24-70mm F2.8G ED. The day the D500 arrived, a nice big box showed up with 3 lens choices for us to shoot with. Since its release, the D5 has been updated to have the same record limit of the D500: 29 minutes 59 seconds. Upon its release, it looked to offer a better value than its big brother because it could record longer than 3 minutes in 4K. We were excited to see what the D500 could do.
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